#i hate so much when franchises and whatever make some kind of adaptation where they keep the characters but give them nothing to fucking do
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i'm not going to complain about shadow and bone too much because i could obviously just like. not watch it. but just know that ohh my god. oh my god
#ziggy speaks#soc#anti shadow and bone#im being dramatic it's not terrible i guess#i hate so much when franchises and whatever make some kind of adaptation where they keep the characters but give them nothing to fucking do#it's clearly just for money with no regard to why the characters themselves are compelling and the fact that you literally need plot???#the entire plot of crooked kingdom is reliant on the plot of six of crows and the ice court heist but the show includes scenes or at least#nods to scenes from both books#but they don't work without the context#and theres so much mischaracterization and like they rush the character development so much because the soc characters have like no actual#time to be characters and the story they gave them makes no sense????#THEY NEED THE HEIST#THATS THE POINT OF THEM#the facades are supposed to be stronger than this.. you cannot have kaz saying how much he needs and relies on inej in like episode three#i am but a simple teenager and i have the potential for so much rage#idec idec#also my six of crows hyperfixation was like two years ago#apparently im ready to go to war over it today in the year of our lord 2023#who knew
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Thoughts on Higurashi Sotsu Ep15 [FINALE]
For better or worse I think Ryukishi achieved exactly what he set out to do with this series, and I guess everyone’s just gonna be forced to reckon with how they feel about his own perspective on this franchise versus how they feel about it, lol.
Anyway, thoughts under the cut, plus Umineko spoilers.
I’m not entirely sure where to even start with this, but I guess the TL;DR is that I honestly think Gou/Sotsu was ultimately just fine despite it’s issues, and part me of can’t help but be like ‘I told you so, lol’ about how this really did end with this episode, and also committed pretty hard to the Umineko prequel elements.
It’s not like all of my theories were correct in the end, but I at least think I was pretty spot on in my prediction last week that this would end with the miracle of them side-stepping the sword issue entirely and choosing the third option of forgiveness and reconciliation. And also them ending it with an epilogue where we go back to the Matsuribayashi timeline and get a happy ending for Rika and Satoko that provides a ‘non-magical interpretation’ for the story while also giving us an idea of how Bern and Lambda formally split off into their own entities and start the relationship we see in Umineko.
I didn’t quite expect them to go down the route of having them agree to just spend a few years apart and accept that they don’t need to literally always be together, but I think that was a really good way to wrap things up between them. It’s pretty much the healthiest compromise to their conflict that doesn’t come across like it completely invalidates one of their dreams. I get why it feels too anti-climactic and convenient for people, but when you pull at that thread you get into wider topics of what the entire story is about, since this was always going to end with Satoko being redeemed and forgiven. People might not have taken him seriously, but Ryukishi was 100% genuine about his regrets about Matsuribayashi’s ending, and how part of why he came up with this new story was to create a better ending, while also doing more with Satoko as a character.
Basically I think a lot of the fandom negativity towards this boils down to people fundamentally disagreeing with the idea that Matsuribayashi was even ‘flawed’ in this sort of way to begin with, or that Satoko was badly written. It’s valid to disagree on this stuff, but at the very least we all have to grapple with how Ryukishi has his own specific relationship with this series.
People like to focus on how he’s a troll who likes to mess with people, but I feel like this is a bit of a wake-up call for people about how he’s actually extremely sincere, almost to a fault, and he likes to use his stories as a vehicle for expressing his personal philosophies and ideals.
This whole story is also a good example of how he just sees this as ultimately being a fictional story about fictional characters, and not literally a matter of real people who need to be sentenced for their crimes or whatever. As early as the original VN he was almost being outright preachy about the message that nobody is irredeemable, and that philosophy carries through to this. But to be more specific, nobody *in this story* is irredeemable. He’s pretty open about the fact that in practice you can’t apply this sort of ideal to real life, but fictional stories are their own separate matter.
I think this whole issue of how he views this as a story first and foremost is also the central reason why this ended in a way that comes across as Satoko being let off too easy for her crimes. One way or another, Ryukishi’s made it clear that he sees this as being no different to how other characters had arcs where they committed crimes but still got forgiven, or how Takano is basically a straight up war criminal who also got forgiven for her crimes.
Anyway, this episode at least committed to the Umineko stuff, so that was satisfying. Sure there’s people that still want to deny it, but at this point I think a lot of people are just being stubborn, so it’s not like anything would have really convinced them, lol. I’m also genuinely not sure what people even would have expected them to do beyond what we saw her, aside from having the two of them literally put on their gothic lolita outfits and turn to the camera and go ‘we are literally Bernkastel and Lambdadelta from the video game series Umineko When They Cry’. I almost feel like there’s some kind of misunderstanding from people who aren’t familiar with Umineko when it comes to the idea of what it even means for this to be ‘an Umineko prequel’, or ‘a Bern/Lambda origin story’. I mean, this is quite literally exactly what I expected and hoped for in that regard. It’s not like I was expecting them to incorporate anything related to, like, Beatrice or the Ushiromiya family.
I think this is also one of those things where you just have to decide for yourself whether or not you want to earnestly engage with the story that’s being told, or if you want to assume that there’s some level of malice or trickery going on.
To be honest, I wasn’t expecting them to literally have Rika and Satoko recite part of Bern and Lambda’s final conversation with each other word for word, lmao. Combined with the scene at the end where ‘Witch Satoko’ talks to herself about how she’s going to give her body back to Satoko while she goes chasing after Rika, it was literally just the exact origin story of their relationship as it’s depicted in Umineko.
I still feel like this would all only really be ‘worth it’ if we actually get something like a full on anime remake for Umineko, but at this point I can’t help but feel satisfied with this part of it all.
It’s not like I think Gou/Sotsu as a whole is perfect or anything, though. I don’t hate it as much as basically everyone else does, but I think Ryukishi’s the sort of VN writer who really struggles with the shift to writing for an anime. I think a big part of the frustration people have is just from how this is formatted as a weekly anime series spread across basically an entire year, instead of being something like a stand-alone VN chapter that you can read at whatever pace you want, even if it ultimately takes the same amount of time to read as it would to watch all of Gou/Sotsu.
There’s also the whole issue of this being a sort-of-remake, which snowballed into a whole list of structural problems. They absolutely tried too hard to have their cake and eat it too, and they should have just committed to it being made for old fans only, instead of trying to sincerely incorporate elements from the VN that old fans don’t care about anymore because they’ve gone over it already.
And as I’ve said several times before, it was a major issue for them to decide to put Nekodamashi in the middle of Gou and then spend like 20 episodes on flashback answer arcs until finally getting back to that cliffhanger. I’ve been waiting until this all ended to decide exactly how I feel about that, and now that it’s all over I still think it was a really bad idea. I don’t think it was an issue for them to reveal that Satoko’s the culprit that early, but having the gun cliffhanger specifically happen that early just gave people misguided expectations and tainted the answer arcs because people were just impatient to get back to the cliffhanger. And then the cliffhanger itself ended up being somewhat anti-climactic, which is what I’d been fearing would happen. It would have worked fine if they shuffled it around so that the cliffhanger happened right before Kagurashi and was followed up in the very next episode, or if this was a VN where you could binge your way through the flashback stuff, but spending like half of an entire real-life year to get back to that point only to have the resolution be ‘Satoko just shoots Rika and the death loops keep going’ just didn’t really work properly.
I’m a lot more generous towards the Akashi arcs than most people are, since I think they really over-estimate how much re-used content there is there, but they still suffer from the central issue of the show trying to be accessible for new fans. It could have been heavily condensed otherwise, without losing anything in terms of Satoko’s whole character arc.
On the other hand I think the first half of Kagurashi was awful specifically because it highlighted how bad of an idea it was to put Nekodamashi so early in the story. They still ended up having to go back to that arc and repeat it anyway, in the most 1:1 recap-y way in the whole show, but that wouldn’t have even been an issue in the first place if that was instead the first time that arc happened in the show.
I’ve been thinking a lot about how I would rearrange the story to make it flow better while still following Ryukishi’s intentions, and I think they could have condensed it into a 2-cour season with this sort of structure if they did something like this:
-First arc where Rika gets thrown back into the loop and quickly figures out that somebody intentionally caused this to happen, and it’s not Takano because at least in this idea of mine she’d try and investigate her only to find out that this version of Takano regrets everything and is planning to flee the village with Tomitake.
Basically I think this could tie into the idea of Satoko initially wanting to just concoct an idea world for Rika so that she won’t want to leave this time, but sort of like what I think happens in Saikoroshi, Rika would still reject it, and this time around there’d be the additional layer of her knowing that somebody did this to her for an unknown reason. Maybe they could even initially market it as a new adaptation or a remake of Saikoroshi, and then reveal that it’s a sequel, to keep that whole element to the series. Either way I think this would end with everything going to shit when Rika rejects that fragment and wants to go back to St. Lucia’s, and Satoko basically snaps and kills her, and that way the audience can find out about her being the culprit without Rika finding out about it yet.
Maybe there could even be some dramatic irony where Rika’s attempts to meddle with certain ‘trigger events’, and her displaying her looper side, inadvertently triggers people around her to get paranoid, and the whole fragment would start to spiral into tragedy from there. I think they could at least use the whole conflict in Tatariakashi about Teppei actually being good this time as a starting point for that sorta thing.
-Second arc, rounding out the first cour, which is basically just Satokowashi. I don’t think there’s much that you’d need to change here, but like I said above I like the idea of her initially trying to just invent a perfect world for Rika and her to live in, instead of jumping straight to murder. But maybe instead of her literally just watching Rika’s loops, she could instead just be stuck using her looping powers to try and figure out how to create that ‘perfect world’ in the first place, by personally investigating all of the different tragedies and how to prevent them.
-Staring the second cour, a third arc where we basically just get to see those loops Satoko goes through, and her whole process of solving the tragedies and ‘purifying’ characters like Teppei and Takano, until we eventually see her perspective on the first arc, and how she reacts to Rika ultimately rejecting the world she tried to make for her.
-A fourth and final arc which is basically just Nekodamashi + Kagurashi, where she just totally snaps and tries to just torture Rika into never wanting to leave the village again, and eventually Satoko gets exposed and they have their direct confrontation with each other.
With that sorta story structure, you’d keep all the relevant bits of Gou/Sotsu as it is now, while being more focused on Rika and Satoko instead of doing kinda half-assed reruns of the Rena and Shion arcs. It’d also push the big cliffhanger between them until near the end of the show, while still revealing to the audience relatively early on that Satoko’s the culprit.
I’d also like them to do more with Satoshi and Shion, so maybe like with how Teppei gets redeemed and Satoko almost gets to have a happy life with him in Tatariakashi, the central question arc of this hypothetical story could also involve Satoko making sure that Satoshi wakes up from his coma, and Shion also gets to have a good relationship with all of them. You could probably do something interesting with the idea of Satoshi and Shion being in the camp of not trusting Teppei and his whole redemption arc.
Honestly I could spend a long time talking about how I would have done things differently, lol. For one thing, I think the Akashi arcs would have been much better if they just changed it so that Satoko used psychological tactics to make people paranoid, and we completely cut out the whole syringe plot device. I get how it fits with Satoko’s whole certainty gimmick, but it made those arcs way too predictable. Even if we knew the outcome, it’d at least be entertaining to see exactly how Satoko might go out of her way to set up the different tragedies. We kinda got glimpses of that sorta plot point in Wataakashi when things seemed to go outside of her control, but they didn’t really do much with it.
Anyway, this is a whole lot of words to say that I think that in spite of the serious structural issues going on, I think Gou/Sotsu as a whole is fine, and was at least working with a lot of perfectly good ideas that could have been executed much better.
Also, on a side note, that one scene during their fist-fight at the start where the art-style changes a bit was kinda weird, but I really liked how it looked, and part of me almost wishes the whole show looked like that, lol. I like Akio Watanabe’s character designs, but I feel like that sort of stylized, almost TWEWY-ish art style would have been really fitting for this series, especially in the horror/action parts.
Oh, and the new rendition of You was so good it almost felt emotionally manipulative, lol.
#murasaki rambles#higurashi#higurashi sotsu#this got kinda long but I still feel like there's so much more I could say about this if I wanted to
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Almost every reviewer on YouTube wasn’t satisfied with this movie IMO they said it was just Marvel combined some elements from other marvel movies so they could throw fans a BW movie so we could stfu, it didn’t do justice to the the character ,what do you think, is it really that bad.
To be honest, I've been working on this one for a while but I keep writing and deleting my response. Because all the things I want to say sound gatekeeper-y, in one of several ways.
I think you can be a Nat fan and not read the comics. I think you can be a Nat fan and never talk about her. I don't think you need to know everything about canon and be an "expert" to be a fan. I'm not interested in a locked-gate version of fandom. I don't think this movie should just be for die-hard Nat fans. And I don't think that all Nat fans will like this movie, for a variety of reasons.
Despite all of that, a lot of the comic book/movie expert reviews I've seen feel, to me, like they were evaluating a movie that isn't the one this movie was ever trying to be, and missing some of what the movie explicitly says it is because that doesn't fit what they want from it.
A bit more spoilery and a lot longer under the cut. I am so sorry I'm like this.
This movie felt tailor-made for me. Not because I loved every answer they gave, but because the questions they asked are ones I've been waiting to hear since 2012, when I first saw Avengers and then immediately went back to see the rest of phase 1. I think people disliking the answers is a legitimate opinion, and I'm looking forward to detangling that with people. What surprised me in reviews was not reviewers disliking the answers, which is legit, but not even seeming to realize the questions had been asked.
Most prominently, what felt like the huge thematic arc of the movie to me has been nonexistent in so many reviews that I've started to feel like I made it up, even though I took notes of exact quotes so I could reference them. The movie isn't a Nat origin story, and it's not about her as a cool edgy villain, so not seeing either of those didn't bother me. It's a movie about Natasha's trauma and how that manifests, and how her attempts to break free of it have harmed others in the past, and how she can move forward from that. We never get the key that unlocks the history of Natasha's past, so if you approach this as a puzzle box, it's going to fail.
THIS INDENTED PARAGRAPH IS THE CLOSEST I GET TO DIRECT PLOT POINTS, FEEL FREE TO SKIP
Specifically most of the reviews seem to view Nat's motivating guilt as over how she escaped the Red Room, particularly one casualty she deemed an acceptable sacrifice. But as I interpreted it, Nat's guilt in this movie came from a much closer place: the other Widows were all she'd had, and Nat being able to escape the Red Room made the Red Room hold on to the other Widows that much tighter. She thought she'd taken it down, but she was wrong. So her freedom, essentially, came at their expense. Natasha working to take down the Red Room this time is personal both to avenge her own trauma and to make up for her guilt in the Red Room still existing and creating more trauma for her peers. Without this context (and to be clear, I have gone back over the quotes several times to see if I'm misinterpreting and I really don't think I am), the idea that all of her guilt is over what she did to a single person makes more sense, but it also makes the movie a lot less interesting. If Natasha is justified in blaming Alexei and Melina for condemning her back to the Red Room, how could the other Widows not blame Nat? To me the entire story swings from that, and by not acknowledging Nat's (inadvertent but still very real) responsibility for continuing the cycle, the movie would feel hollow.
PLOT POINTS OVER.
Many critics they seem to feel like the potential this movie introduced was wasted because Nat's dead, so what's the point. First of all, the point is she's Nat and we care. It's not like we went in to Iron Man expecting that we'd have a decade of a franchise; we cared in the moment, and this movie is asking for the same thing. It delivers for over two hours of NOT murdering Natasha, which is more than I can say for Endgame.
To be clear, BW does set up other things for the MCU, and it's but if you're only watching it for what it's going to tell you about the future of the MCU (and I get it, because that's how I'm watching Loki, and it's a very different type of watching than I did for FATWS), this probably IS going to be a disappointment, because this isn't a big crossover event movie; I mean, none of Sam's "Big Three" show up at all. But again, that's about the movie someone wanted it to be, not the movie this was aiming to be.
Is this like a lot of other Marvel movies? Kinda. It's definitely taking a lot from Civil War for its set-up. Its arc felt like a close mirror of to Winter Soldier to me, to the extent that I'm planning to rewatch that on Thursday so I can see how much that's just me projecting my fave onto it. The third act is very Marvel-third-act-y, as adapted to Nat's character; the adapting to Nat's character are the parts I like and the rest is kind of what I consider the MCU price of admission.
I also kind of hate that it feels like the last few movies- Black Panther, Captain Marvel, now this and some rumblings about Shang-Chi- have all been kind of dismissed with "it's just the Marvel formula." It is, but that doesn't change the fact that different protagonists make it different. Dr Strange is pretty much just "Iron Man 1 with cool magic" and people didn't mind, but "how does this formula change when the protagonist is fundamentally different than the archetype to this point?" is apparently not different enough. I get Marvel fatigue, I really do, but for me it's tempered by how, in this case, Nat doesn't have the moral clarity Steve or Thor or even Tony or Scott has. No one in this movie lets her forget that she's a trained killer who little kids look up to.
Again: there are parts of this movie that don't work. I also don't ever ever EVER want to seem like I'm saying that if someone didn't like this movie they're not a real Nat fan or they're wrong. I know there are reasons to not love this movie, and I'm sure I'll figure out more the more I watch- it may not make me not love it, but it will at least complicate it for me, and i think we all know I live for that shit. Moreover, I intimately know how much it sucks when something you've been enthusiastic about and anticipating for ages doesn't pay off and everyone else seems to like it- it's isolating and upsetting and you just sit there wondering why no one else understands, and that's bullshit and I wouldn't wish it on anyone. People who don't like this movie are valid!
But if someone has a history of seeing Nat as just background, or considering her as a T&A deliver system more than as a character, or caring about hot women with guns but not care about the trauma that turned them into that, or saying they like movies about women but just not THIS woman for every comic book movie about a woman not there for them to ogle, or claiming to be experts in all things comics while doubling down on their theory that Yelena wouldn't appear because she was in Agent Carter (YES THAT HAPPENED, MORE THAN ONCE, THE NORTH. FUCKING. REMEMBERS. AND WISHES THEY KNEW WHERE THEY SAVED THOSE SCREENSHOTS), I don't need to weight their reviews heavier than the adrenaline rush I felt watching this movie.
So in answer to your question, I don't think the movie was really "that bad." I think this movie delivers in very specific ways, which definitely are not the flashy ones or the "every Marvel movie builds to the next great EVENT" ones or the male power fantasy ones, and if those ways aren't the ways you care about, it's going to be a disappointment. Even if those AREN'T the ones you care about, it could be a disappointment for any number of reasons, some of which I noticed during the movie and some of which I'm sure I'll be surprised to read about Friday morning.
But it wasn't one to me. For whatever it's worth, despite the movie's flaws, I loved it, I haven't stopped thinking about it in five days, I can't wait to see it again, and I hope that whether other people do or don't like it, they want to roll around in it as much as I do to pick out every single shred of canon worth overanalyzing.
If this is all we ever get for Natasha- and it is a CRIME if this is all we ever get for Natasha but that doesn't mean it's not so- I am grateful that this is what we got.
#allofthereplies#Anonymous#Black Widow movie spoilers#BW spoilers#I mean I tried to make this not that spoilery but I'm sure I didn't completely succeed#also warning for long post#extremely long post#again: I am so sorry I'm like this
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Me: doesn't know anything about Witcher and so didn't read your post about it; I mainly follow you for RWBY takes
Also me: reads an anon call you an idiot for having the 'incorrect' Witcher opinion
Me again: goes back and reads your Witcher post even though I don't know anything about the material because now I want to know what's wrong with this 'Yen' person
Ooooh yikes, that character sounds emotionally abusive as hell. I guess, it's good to know that RWBY isn't the only fandom out there where you're "supposed" to ignore and deny that a character *has flaws* and you're considered "wrong" if you *personally dislike* them for said flaws.
I don't understand why some people can't get it through their heads that no single character/show/story is perfect, and that some people like/dislike different things. There's nothing wrong with a character who has flaws. Those flaws don't need to be 'dismissed' and 'denied' in order to like a character (like you said with the John Mulaney voice; liking a flawed character is fine) but no viewer should be forced to like a character and told that they're 'misreading things' or 'misrepresenting things' or are just 'too stupid' for not pretending those flaws never existed and forcing themselves to like a character anyway.
I guess there really is a 'Yen' for every 'Yang.'
That is a god tier level pun, anon, fabulously done! 😂
More seriously though, I think the closest comparison I could make (which, admittedly, isn't a great comparison but I'm doing my best here) would be to Weiss. Yen improves in the later Witcher books. Weiss improves in the later RWBY volumes. Yet some fans are still uncomfortable with Weiss' racism. So imagine for a moment (actually we probably don't have to imagine, I'm sure this drama exists somewhere online lol) that someone disliked Weiss because of where her character started out. It could be any reason from the complex "Sorry, RWBY didn't give her development enough nuance. I can't back the character who once compared the minority to a trash can and then just... forgot about her racism I guess??" to a simple "She's so arrogant and snobby. Yeah, I get that that's her thing and it's meant to just be a mask or whatever, but it drives me up the wall." Now imagine that whenever you mentioned disliking Weiss fans came out of the woodwork to remind you about her amazing character development. And nothing else you might say matters. How RWBY handled that development, or how much content we got with Weiss' flaws on full display, or how that development fits into the larger themes of the franchise, or that you're just not inclined towards the Ice Queen type characters... if you don't adore her now that she's developed you clearly didn't understand her. She's best girl! The whole point is that she moves from unlikable to, you know, the best. So you're like no... I get it... I understand how characters work... but that doesn't mean I have to like her. But they're not listening. It's two different conversations going on. A "I just don't like this character" vs. "I do like this character, so if you disagree you must not know how to read a story 'correctly.'"
Now take that very generalized situation and apply it to a character who is not an abused teenager, but rather a nearly 100yo sorceress; not spewing rhetoric taught by her abuser, but pulling informed stunts like taking over her future lover's mind to seek revenge on others; not improving very early in the series, but rather working against a franchise where, roughly, 4/5ths of the material keeps her in that pre-growth state. All wrapped up in a love story that hinges on non-consensual magic tying these people together for all time. There's a lot to unpack there! Personally, I think there are a lot of reasons to dislike Yen and I'm constantly surprised that so many in the Witcher fandom don't, as you say, just shrug and accept that as a given. She's a polarizing character. People are likely to either love her or hate her, with little in between. Yet one of the most common arguments (in both Witcher and RWBY) is that this character is The Best because they're so well-rounded, complex, nuanced in their development and flaws... but the flipside that few acknowledge is that this complexity/flaws/need for development can lead to just... not liking them. Precisely because of those things. Yen is a great character. That's not the same thing as her being a character everyone has to like. "But she's not supposed to be likeable! That's part of the point of her character." Well then congratulations, the author succeeded in making me not like her. Why are you mad again?
Honestly though, the Witcher and RWBY fandoms both suffer from that need to dismiss all flaws. Yes, even while simultaneously insisting that those flaws are what make them a great character. We've seen that with Ruby: she's not perfect, of course she's made mistakes, look she's so upset about how things have turned out... but also no, she shouldn't have done anything different, ever, how dare you criticize her. I'm not neck deep into this fandom so I definitely can't speak to all pockets, but I've been watching the Shadow & Bone adaptation (read the books a while back) and it has been SO REFRESHING to see discussions where people just... talk about how much they love The Darkling while also acknowledging how very messed up he is. Like, rather than bending over backwards to absolve him of everything to justify liking the Darkling/Alina ship (because purity culture, I guess?) fans are just going, "Oh their relationship is a mess I'm so here for it 👀" I mean, don't get me wrong, I'd bet everything I own that the same drama exists because what fandom doesn't have it? But it feels like if you grabbed an average fan, shook them by the proverbial collar, and went, "But don't you know he's manipulating her? Don't you know that relationship is abusive?!?!" they'd be all, "No shit, that's why they're interesting as a fictional couple." I have no idea why I personally latch onto some "problematic" ships and despise others, but I honestly think I might have been at least slightly more keen on Geralt/Yen if the books and fandom acknowledged the problems in that relationship more, rather than painting it with a generalized, "But they love each other, and are meant for each other, so everything else is fine" brush. When you point out things like, "Geralt was sure that Yen was going to attack him with her magic for disagreeing with her... that's kind of not great..." the reaction tends to be an essay detailing why that's not actually a problem, you ignorant person, rather than just going, "Oh yeah, the relationship has so many problems. That's one of the reasons I love it."
ANYWAY what I love is that you're out here reading nonsense posts for a franchise you know nothing about, anon lol. I'm the exact same when I see people I follow going on passionately about fandoms I'm not in. I've got the imaginary popcorn like, "John Doe did what now? Oh yes, spill the tea."
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Pacifism Isn’t A Character Trait
Or: MLK Day is Upon Us so Let Me Do You a Learn
Or: As An Aang Stan I Got a Bit Over-Zealous But Lemme Explain Why For A Hot Minute
Plus some History and Tumblr commentary that even non-ATLA fans can chew on
And by ‘hot minute’ I do mean this is going to be a long meta, so strap in.
For those of you who just might be tuning into this debacle, I, a person who has not used Tumblr, much at all, except for the last half year, ran into some trouble.
If you wanna skip the whole TLDNR interpersonal stuffs and get straight to Why Aang is the Best Thing Since Sliced Bread, I will embolden the relevant parts, and italicize the crit of Korra, if you want that alongside.
I was excited that ATLA was seeing a resurgence due to the Netflix remake. I wasn’t even trying to apply any steep expectations for it. (learned not to do that the hard way with the last live action adaption, and to a much lesser extent, ATLOK, since it had good . . . elements, *ba dum tsshh*)
So, these are a couple aspects of the issue: (1) Even on the internet, I am extremely introverted and until recently mostly came for content, not socializing. My main online interactions thus far have been in forums and artist-to-artist on DA. Tumblr is still very strange to me because it splits up its ‘threads’ so you can’t see all the replies if a certain pattern of users responds in their own space. I’m not even 100% sure it’s in chronological order, and replies are not nested next to each other so you can look in the comments and someone will be replying to something you can’t see in that window. And also since it is a bizarre hybrid of a blogging system, posts are somehow considered ‘owned by’ or an ‘extension of’ OP in a way forum threads are not. (2) ATLOK was good in a cinematic and musical way, to be sure. It also had some good concepts. I can go into it just appreciating it for the worldbuilding and be somewhat satisfied. But the execution was terrible. I was on AvatarSpirit.Net for years, and If I had maintained my presence on ASN to current day and had gotten around to downloading their archive now that the forum is dead, I would include some links to other peoples’ detailed analyses on just how flawed both the plotting and Korra’s frustratingly flat learning curve was especially in the first two seasons. But, that is a task for another day, and only if people are interested.
No, what I’m addressing today, on the issue of Korra as a writing exercise, is how Mike and Bryan said specifically they wanted to make her ‘as opposite to Aang as possible’ and in so doing, muddied the central theme of the original ATLA series.
Now, again, I was mainly an art consumer for my first major round of ATLA fandom. Tumblr is an alien beast to me. But, after I write my first major Aang meta, talking about how amazing it is that he has the attitude he does, and how being content in the face of this overwhelming pain and suffering is an ONGOING PROCESS and an INTENTIONAL DECISION and not a simple PERSONALITY TRAIT, I start hearing that Aang gets a lot of hate from the fandom. Now this would be bad enough if it were merely people not liking his crowning moment of pacifism because they don’t understand the potential utility (I’ll elaborate on that in another post) or the ethics involved.
Aang is easily the most adult member of the Gaang. But he apparently gets hate for his few moments where he actually acts his age, a preteen, and maybe kisses a girl in a historical timeframe in which ‘consent’ discussions were probably nonexistent. Even in the present day, we are still practically drowned in movies that reinforce this kissing without asking trope. And even some female bodied people complain that asking kills the mood! But somehow he is responsible and reprehensible for this, even though the first time she kissed him back. I’m only going to get into the pacifism discussion today, but that was just another layer of annoyance bouncing around in the back of my head.
Other peoples’ crit of Korra that was stewing in my subconscious, plus this Aang bashing, which thankfully I had not directly read much of, made up the backdrop of gasoline for the match that set it off.
Even that seems a pretty melodramatic way to phrase what I actually said, which was:
Aang, on the other hand, lost dozens of father figures and was being steamrolled by Ozai who was gloating about genocide TO HIS FACE, yet he still reigned in all that quote, ‘unbelievable rage and pain’ (The Southern Raiders).
We Stan Aang, the Superior Avatar. No I did not f**king stutter.
#AangSupremacy
In another meta, someone complained that I was too defensive of Aang as a character and didn’t apply literary analysis enough, which I quickly rectified.
What set this off? Someone was kind of indirectly praising the line from Korra,
“When I get out of here, none of you will survive”
To them it was emotionally resonant or whatever, and I have to point out that no, it was a martial artist not having control of their state of mind, as is the bedrock of the practice. It was never addressed by the narrative, which is a severe oversight.
I had a conversation with someone in the chats, making this distinction between Korra’s character traits and life philosophy. If she were to kill people while enraged and she was fine with that, that’s one thing. But if she regretted it, that’s a whole other kettle of fish. People argue that she comes from a warrior culture, unlike Aang.
Never mind that warrior monks are a thing. That’s what Shaolin monks are. You can be a pacifist and skilled at fighting. Those things are not mutually exclusive, which is the whole point of Bagua, Aang’s style.
And also, Katara’s style.
That’s one reason I like Kataang so much- their congruent styles. Both of their real world martial arts are dedicated to pacifism, even though ATLA specifically doesn’t spell that out for Katara and her learning arc.
There was a meta where someone briefly tried to argue that knowing “martial arts” is against pacifism. No. Quite the opposite.
I’d argue that you are not a true pacifist unless you know exactly how to handle yourself if someone attacks you.
If you are not in a position to make conscious decisions about how much force to use, rather than merely operating on survival instincts, that is not pacifism. Or at least, not any energy or effort towards pacifism as a practical everyday tool.
I’ve made a few attempts to learn some tai chi and aikido, and it’s improved my physical and mental health, but some other things have gotten in the way. #lifegoals
I’m not going to tag the unfortunate soul whom I was replying to, because they’re probably tired of all this, but I’ll be sending them a PM to say that I’ve made this into a different post, because as I mentioned before, threads are somehow considered “owned” by OP, so it’s been pointed out to me that I should separate it.
I also said,
I have basically ZERO respect for Korra uttering violent threats when the writers already minted a far more emotionally devastated and yet still resilient and centered character earlier in their franchise.
People always try to excuse away people who genuinely like Aang more.
As if it’s just nostalgia or whatever. For me, no, it’s absolutely not. It is respect for a character who stands toe to toe with real people who are kind in the face of overwhelming injustice. (I have another meta on that).
Both OP and people in the chats try to make excuses that she wasn’t raised as a pacifist, and that would be fine if they had addressed it with Tenzin and she had stated outright that she was rejecting pacifism and mind training. As it is, we are left with this nebulous affair where the lines between ideology and personality traits are blurred.
We are told she “has trouble with spirituality” but what does that even mean? Does she have trouble with focus? Does she have trouble relating to the canonically real spirits? And pacifism specifically nor inner peace that it flows from is never even talked about as an extension of spirituality, which is canonically tied to airbending.
“Aang didn't have to deal once with the loss of his autonomy in atla” OP claims.
This was after I had noted that Aang was getting kicked around by Ozai and was most likely going to die.
Similarly, someone in the chat rejected the idea that a 12 year old trapped in a stone sphere that is heating up under a cyclone-sized blowtorch feels powerless.
Sorry but that’s flat out ridiculous.
No one wants to admit that both of these people were faced with similar situations, and when push came to shove, one showed his LIFE PHILOSOPHY through conscious effort, and the other was abandoning the basis of martial arts, which is, no matter what the situation, keep thinking. Hold the panic at bay. Non-attachment would have served her well in this situation. Tenzin should have told her this. Before, or afterwards. It should have been addressed in the writing.
People see this as “bashing” Korra, and oh well, can’t help that. If I think the writers didn’t follow through on their themes, that is my concern.
OP said I was “offended.” No, not really.
I wasn’t offended by the post itself, or its commentary. Thought I made that pretty clear.
This is not dramatics. Let me be blunt.
As a ideological pacifist, and an actual practitioner of meditation, based on Buddhism, NOT just the fan of some show, I am for calling out writers who write one way from the survivor of genocide, and then stray from that ‘thoughtless aggression is immoral no matter HOW hurt I am’ to ‘let’s not address this character’s aggression in the narrative whatsoever.’
OP attempted to derail by accusing me of being racist or sexist against Korra. Also ridiculous. It honestly should have set me off more, but it didn’t.
Meditation is about reigning in your emotions. Managing your anger when it gets out of hand, and digging down to the roots of it. Being responsible for your own behavoir. Acknowledging ownership of your own actions. Not blaming anything YOU DO on anyone else or any circumstances in your life. Like an adult, or should I say, an enlightened adult.
Or at the very least, that is the ideal ypu strive towards while being imperfect in the present.
. . .
Now.
I’m going to quote a passage in a Google Doc of mine, even though I’d really prefer if you asked to read the whole thing, with context.
“What do humans do when it is necessary to, or greed makes a nation want to recruit?
They go to the army to get trained, right?
Granted, having someone scream and get spittle on your face is, in the grand scheme of things, poor preparation for having bullets whiz past your chest and grenades shatter your ears. And, what do you do to prepare you for the pain of getting your leg blown off? Hopefully, nothing. Like taking a test where you only got half the study guide. But, it’s about the most ethical way to go about it, right?
Not everyone even sees action. So any more more extensive mental preparation for physical pain than that, and you’d have people definitely protesting.
Well, as it turns out, pacifistic protestors themselves, if they were in the right time and place, also very intentionally do this type of mind training. Except, when they did it, they actually did sit still and took turns roughly grabbing each other and throwing each other down and in some cases, even kicking and bruising each other.
Turns out, those pacifists are, in some ways, more hardcore than the army.
Why is this?
Because a pacifist’s aim, unlike a unit, who wants to gain the upper hand in a situation, is to grit their teeth and grind their way through all those survival instincts, and totally submit.
In this, they aim to get the sympathy of the public, who clearly sees they are not aggressive, or a danger, no matter how much the footage is manipulated or suppressed.
In this, they hope to appeal to their attacker’s better nature.
Make them stop and think, wait a second, are these people a threat like we’re told they are? I’m attacking someone who’s letting me beat them up. Or a bunch of people. All forming a line, and letting us peel them off. Or sitting, and bowing their heads. If I’m on the ‘right’ side of things, the law, why am I doing this?
It’s not like a bully, who’s just a kid.” They’re more self-aware.
And might I add the situation influences a pacifist’s actions too. There’s no reason to let a single or a few random attackers beat you up if you can evade or disable without permanent damage.
Pacifism is a dynamic set of responsive actions informed by values. Not a proscribed set or a checklist.
But in terms of organizing against state power, and recording wrongdoing, which unlike during the Civil Rights can happen from all angles from smart phones nowadays, these are the motivations.
“So, the pacifist knows this, and that’s why they go through all that trouble of training themselves to, not only submit, but not turn tail and run, either.”
See, a character trait is something like being a morning person, or ways of handing information, or a given set of emotions a character feels. Once you cross over into actions, you must make the distinction of whether an impulsive character agrees with their own uncontrolled actions, or is embarrassed or remorseful. Those are life philosophy. Now sure, one type of person or character may be more likely to subscribe to pacifism, but there is no gatekeeping on what you have to feel or how you look at things. You can be easygoing, or feel all the rage in the world, but as long as you at least attempt to have a handle on those desires and feelings to where they do not cross into actions, you are still doing the work of metacognition, which is what martial arts and its accompanying mind training are for.
It’s what we see Aang do.
He’s informed us, during the Southern Raiders, on how much rage and pain he feels.
Pain points, TRIGGERS, that were directly struck at when Ozai gloated over him.
He joins with all the past Avatars for several moments, and just like every other time he is in the Avatar State, he is enraged. He wants to exact revenge on the unrepentant grandson of a baby murderer.
We see it when he turns his head away, face still screwed up in anger.
For another example, I could cite my difficulties in being aware and reining in my tongue sometimes. I know the roots of these issues and I seek to let them go.
It’s just that process takes way longer than Guru Pathik would have us assume.
In fact, I would even say that Aang’s portrayal throughout the three seasons is not strictly a realistic representation of at least the sad side of grief. I addressed that a little when I talked about real life figures. But what it IS, is a metaphor that cuts very deep to the heart of pacifism. As I showed in that Doc . . . There is no limit of suffering a pacifist is willing to go through, internal or external, for the preservation of peace.
This was demonstrated during the Civil Rights, and with Gandhi and all his followers beforehand, inspiring them. The pacifists’ method of swaying hearts is probably the reason BLM exists in such numbers as it does today. Will the types of narratives that correspond with their full stories of the way they collectively planned and trained for and approached conflict make it into fantasy media? I’d say, probably not. For a host of reasons.
It could be hoped for, I guess.
But we DO have Aang.
As for myself, whether speaking sharply is an “action,” per se is up for debate- certainly it doesn’t seem to violate the non-aggression principle put forth by the vision of a “stateless society.”
For another example, let’s take my explanation at the beginning. I am examining how circumstances affected my actions, and now am attempting to fix it, if indeed it needs to be fixed.
At least one person said that it not so much what I said, but how and when I said it. I don’t actually think I’ve said anything “wrong” per se. So I have to figure it out.
[I’m considering splitting up this next part into a second post, as it only slightly relates to pacifism itself and is just kinda some more commentary on Tumblr itself- Tumblr discourse, as it were]
[I’ll put more brackets when I’m done in case you want to skip this part as well]
An interesting social difference between Tumblr and other places is this command you often get, “don’t chat/reblog/message me back.”
This is interesting for several reasons. For chats and reblogs, other people may be following the “conversation,” so it’s actually pretty rude and presumptuous to tell a person not to respond to whatever you said, because other people watching still may be interested in your take.
In a forum setting, if someone involved in a conversation doesn’t have anything left to say, usually they just don’t respond.
This method would work perfectly fine for Tumblr, but for some reason, maybe its super odd format, probably due to the “ownership”/“extension of self” I mentioned at the beginning of the essay, people don’t tend to do this.
Now, in comment sections, sometimes you’ll run across an amusing sort of “mutually assured destruction” where two people both say this to each other. You’d better stop responding. Omg just give up. Why are you still arguing. Etc.
But see, no matter where this behavoir pops up, and no matter who starts in on it, those who do this usually want to have the last say on the matter.
Instead of merely not replying, they want to assert verbal control over the conversation.
Tumblr, in its weirdness, is also sort of like a mutant comments section. You can post comment section threads as your own post.
Which is one reason why I’m puzzled when people say ‘don’t read the comment sections’ when Tumblr is so popular.
I’m an oddball in that I browse comment sections for fun.
Probably due to alexithymia, I didn’t really comprehend the emotional toll it takes on many people, so the warnings to “stay out of comment sections” read to me like “hey don’t eat that dessert.” After I’m done with the ‘meal’ of an article or art, I like to see what lots of different people have to say about it. The fluff. Anything vitriolic I either blip over, or extract anything useful, or if I judge the person is reasonable enough, I might engage.
Sometimes I mis-judge on how reasonable someone is, and I shrug and move on after being cussed out or whatever.
In this, I suppose I succeed much of the time in being a verbal pacifist.
[But let’s get back to the more serious stuff.]
We’re talking about what is done in life or death situations, here.
For myself, I may in the near future be working more with dangerously mentally ill people. I’ve had a little exposure to it through various means. Nurses are obligated not to retaliate against patients, and those who have, have been fired in some situations. Again oddly, this is not primarily what triggers my anxiety. Unfortunately enough, this requirement has also resulted in nurses getting seriously injured and violated. I hope to influence whether “no harm” techniques such as tai chi and aikido and arm locks may be allowed. The voluntary philosophy I was luckily already on board with is enforced by bureauacracy, directly relevant to my potential profession.
Were someone to get involved in a dangerous profession, such as a police officer, their moral duty would also be to own up to any spur of the moment anger or fear they acted on.
It’s just that their bureaucracy acts differently, in excusing their actions.
Ideally, they would be taking steps far in advance, to avoid this often-cited fear of death reaction. As training pacifists like Aang do.
And yes, army people are trained differently than police officers because the army, often, even when threatened, is supposed to avoid engagement or deploy deterrents that are non-lethal almost all costs, unless ordered otherwise. Whereas American police are given pretty much complete discretion and often not taught de-escalation techniques. Even police from other nations are better trained in that regard.
Enter the ironically named @avatarfandompolice whose account description should really speak for itself. Combative, dismissive, and their attention-hungry bread and butter is to find people they think it’s acceptable to ridicule.
They basically tried to say trauma was a valid excuse to take out your anger on other people, and in this situation, potentially kill.
Now, does this hold up in the real world? Yeah, sometimes. Especially if some law breaker or law keeper has not been given the anger management tools, they perhaps could be excused, or better yet, rehabilitated.
But especially if anyone finds themselves in dangerous situations, or intends to put themselves in such, it falls to them to do this preparation.
As an aphant, I am at a bit of a disadvantage, compared to an average martial artist, being unable to visualize an attacker. But I still attempt it.
As the main “police officer” of the world- the coincidentally blue clad figurehead that is supposed to keep order, it is apparently fine for Korra to not do the work Aang did to keep level. To blow it off as too much trouble: clearing the First Chakra of fear. For herself or others. And its resultant anger. Had she had access to the Avatar State, the authority figure pretty much would have killed people.
This is what the “fandom police” and a certain chat goer ultimately support. Maybe they didn’t understand it that way, and since the second had blocked me, they will also never see this explanation. Unless I were to share it in Google Doc form I suppose.
So, I responded. “Remember kids, you are not responsible for your own behavior if you have the excuse that someone else did something bad to you.”
A frighteningly common sentiment on this site.
When it’s low stakes like CAPSLOCKING or internet fights, that’s not such a big deal. But what happens if this attitude leaks into the real world?
This isn’t even about Korra or Aang anymore, it’s about toxic mindsets.
I didn’t know fans taking pro-Korra posts as anti-Aang was a common in the fandom. I’ll say again I’ve only just gotten really active on Tumblr like the past few months.
This is about pacifism itself.
MLK and his hardworking, training followers (yes some of them sixteen and POC and not super-powered like Korra) facing down firehoses and staging sit-ins long trained for would shake their heads at this defense of reactionism.
Pacifism is not a Personality Trait.
It is deliberate actions and preparation taken over a period of time.
Then the “fandom police” tried more of this, and these two conversations ensued, the comments with another user resulting in the title and main thesis of this essay:
https://captlok.tumblr.com/post/638777472806273024/avatarfandompolice-response-to-my-independent
https://captlok.tumblr.com/post/638806142933467136/the-plight-was-not-what-i-was-getting-at-it-was
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Continued thoughts on RE8
This was copied when I was making my DeviantArt journal about this. And ah, thank goodness, I don’t need to space out shit. Guess DA using numbers like that helps me out lol.
Hope the title is creative enough. But...the game has been out a month. But I'll tag spoilers anyway. So I got done with the game at 12:04 or well, I put my PS4 into rest mode to charge my controller. I'm gonna say three things.
Donna's death honestly fucked me up...and not in a good way.
Moreau is likely the best boss in the game. Maybe.
Shut your fucking hole is honestly funny.
Okay but yes, I finally played more of Resident Evil 8. And surprisingly, and I wanted to save and be done with the game after I got into the confrontation with Heisenberg.
Let me be honest with you all. Resident Evil 8 is a fine game. While I am still critical about it's story and what choices they made. The gameplay is pretty fine, and I think it's an overall nice or alright experience. While I don't think this is the best RE game ever. And I do think this game got too much of high praising. It was overhyped honestly. But I do feel like it becomes I guess more enjoyable as you play it.
Now I'm gonna go over me going through the sections I talked about real quick. And no, I didn't beat Heisenberg...I haven't yet.
Donna and Angie's section is maybe the best part of the game. Gonna admit when you go to House Beneviento, it's actually beautiful seeing a waterfall beside it. And while I do think the Silent Hill comparisons are...I'm no expert. I've only watched movie format of the first four Silent Hill games. But that part is where the game is scariest at. Despite me being annoyed by the puzzle stuff in one part of this game. Luckily, I feel great I decided not to look anything up.
But I guess it's the closest we'll get to a modern Silent Hill game. But I overall loved this part of the game. Despite I was being stupid and didn't put half of a child puzzle piece into a door for a few minutes. I will admit, I do feel like the puzzles are easier than usual than older RE games...which is kind of fine with me.
Also that giant fetus baby thing is fucking creepy. Thank God I wasn't devoured by it...but amused I was spooked by maybe the projection falling and bookcases moving. Which I dubbed Scooby Doo shit.
And...I'm sorry, I was not expecting Donna's death to go like that...like wow...despite what my friend told me about...wow...just saying, I am not selling Alcina Dimitrescu's or Moreau's remains to the Duke. And I'm sure as Hell not selling Angie either. Besides, I get a lot of money in this game already. Seriously, I'm loaded.
It's just silly like...I didn't want to go to Donna's house first but I had to. Will admit, I do feel like she was underdeveloped. And that could go as well to maybe the other lords. And I did go back to Donna's place to get her treasure...where I fought this fucking giant with an axe...and I'm really interested in who the Hell is that Claudia Beneviento. Considering she died very young.
Moreau's section was pretty fine. But I think along with Alcina's section, was a pretty nice place. While Donna's section seemed a bit more simple, it was more focused on, creeping the shit out of me. Yet I was still terrified being in Castle Dimitrescu because it was my first time...and may still could be scared if I replay the game again after I finish it.
Will admit, I was annoyed I got killed by Moreau three times in the water. I think the reason I liked his part because his boss felt very classic Resident Evil. Maybe almost like Nemesis when he's fully unleashed in the original RE3. I feel like Moreau was pretty unique. Despite at first...kind of wonder if I do want him to look more a Gilman creature. Because he's likely inspired by that those kinds of films.
Also I will admit this, him popping up as a huge fish at first spooked me. Continuing on, I have been going to wells and using the crank to collect shit. Which got me to collect Alcina's golden statue of herself. Which yes...is very narcissistic of her haha! Along with the treasure from Donna...and I forgot to mention I've finished those first three...weird ball games...
Gonna admit, I strangely feel reminded of Sonic Spinball and those pinball sections in the Sonic series. I sound stupid saying that. They are interesting puzzles. I'm just glad and to me personally, Alcina's ones was the most tricky.
So after I beat Moreau, I got the Wolfbane, which was the pistol I was very interested in and it killed that weird beast(Is it like a dog turned Lycan dog or something?)...in one shot...this is maybe the strongest gun in the game. Holy shit, Barry Burton would be proud.
But yeah, I went through the Lycan's den. Turns out, Heisenberg wasn't there. Also the grenade launcher is great to use too. And seriously, the amount of Lycans heads I've blown up with mainly a normal pistol amazes me. Holy crap, I killed a shit ton of them, so many heads blown up.
After getting that last flask and finally opening a way to Heisenberg's factory, I finally get to meet the fella. To be honest, I'm not huge on Karl's voice. I've heard it before, and I know the voice actor got inspiration from Nicholas Cage...but I just imagine Karl's voice to be different. Maybe Cage when his voice is higher pitched, but I forget. Maybe if I get used to it, I'll be fine with it. Here's one of the more amusing lords and...really, the four lords and a lot of other stuff is why I like this game.
What I hate is of what later on happens and...the future of these main games.
I also wanna say that the part I saved on is when I have to escape the factory. But holy shit, how the fuck can the Duke get into these fucking places or whatever. At least the Merchant made sense and whatever else...I'm rambling on. I just find it amusing that this huge character can get into certain places that would maybe seem impossible or not.
But yeah...I'm very likely close to the end of the game. Played a couple of hours. Maybe 3 to 4 or so. While I am...critical of this chapter of the RE franchise. There are things I genuinely liked. I just strangely hate...that this is the final product and we're gonna have to live with it. This is the RE game people are making memes about...I shouldn't be very excited for the new movie reboot this year...but that's what I'm more excited for.
The 25th anniversary of Resident Evil has been going good. Despite my feelings on this new main game.
I remember now, I feel like when I finish this game and I be more detailed with my criticisms. I've heard from a good friend of mine that Under The Mayo has similar opinions to us of how we feel about Resident Evil 8...yet before I decided to listen to the usual 1 hour version of the RE8 save room theme. Which is this.
Resident Evil 8: Village Save Room 1 Hour Extended - YouTube
A day ago, he posted a video that has this thumbnail and the title of how God Of War ruined Resident Evil...I'm really wondering how the fuck is that possible. And my usual bitching is about the fact we hardly see our old characters anymore(Such as Jill who isn't such a big focus anymore), some characters are not better expanded upon or whatever else, and the future...I'm just not interested. Despite I've said to a friend I could be interested in seeing how it goes...
I just explained a little of what I had problems with. I'm just gonna say Capcom needs to be a bit more ambitious and meaningful with their storytelling now. Which may sound stupid...I just want better for this series. And when mentioning that upcoming movie. If we ever get a movie adaption of RE7 and 8, ESPECIALLY 8, I want that to be a loose adaptation and some shit changed.
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FINALLY FINISHED NARUTO AHHHHHHHHHHHH!!!!!!!!
Honestly, and this might sound harsh, but I think I give the series overall a 6/10. Being generous, I’d say it’s maybe a 7/10, but I’m deducting one point because I’m almost positive the only reason I’d rate it that high is because despite all it’s flaws, after watching 720 episodes across two series and 10 movies, you’re just going to be attached to the characters and show regardless of how you feel about it.
I know it’s super popular, or was anyways, and I can absolutely see why, but there were just too many issues that bothered me personally. It’s frustrating because I want to like it, I really do. There’s so many elements at work here that are so just perfectly me that it’s almost weird that I don’t like it, but I don’t. Obviously I liked it enough to spend hours upon hours watching it, but I think I just kept expecting it to get better at some point, and that point never happened.
More about my issues with it below...
I don’t know how to frame this (I never do) so it’s mostly just off the cuff.
I’ll start with the easily dismissible criticisms, the movies. Obviously all but one of the movies are non-canon (and I’ll get to the canon one shortly...), and they’re made by other studios so it’s not entirely fair to criticize the series based on them. I’m far too used to this weird format from Pokemon and their non-canon movies, so it wasn’t a huge deal to me. I will say that, much like the Pokemon films, almost all of the Naruto films followed the same exact format: Naruto goes to a location we’ve never heard of before and will never hear of again and is forced to protect someone abrasive and annoying until the enemy is defeated and they become BFFs that we’ll never see or hear from again.
I’d say, in order from best to worst:
Road to Ninja - Naruto the Movie
Naruto the Movie 2: Legend of the Stone of Gelel
Naruto Shippuden: The Movie 3: Inheritors of the Will of Fire
Naruto Shippuden: The Movie - Bonds
Naruto Shippuden: The Lost Tower
Naruto the Movie: Ninja Clash in the Land of Snow
Naruto Shippuden: The Movie
Naruto the Movie 3: Guardians of the Crescent Moon Kingdom
Naruto Shippuden the Movie: Blood Prison
The Last: Naruto the Movie
Yes, you read that right. The one canonical movie I put in dead last. Originally I thought that position was reserved for Blood Prison, which offended me because of just how utterly contrived the plot was and how out of character everyone needed to act to get it moving. But somehow, The Last took last place because of just how bad of a movie it was that for some reason has the audacity to be canon. And look, I know why it’s canon. It’s where Naruto and Hinata ‘officially’ get together and it ‘explains’ some missing plot elements from the series (more on that...), so of course it’s canon.
But come the fuck on, the last movie in the franchise, the one canonical movie, the one that may or may not take place after the Great Shinobi War, I.E. the big final battle of the series, has Naruto going into the fucking hollow earth through a cave portal that takes him to the moon, which is falling because the man on the moon is an incel and hates earth? What kind of methamphetamines were the writers on for that one. The Hinata and Naruto bits were fine, but holy fuck was that plot bad. They may as well have put Naruto in a spaceship and sent him to Mars to fight Martian Shinobi, I mean if we’ve already crossed the line, why not run a marathon beyond it.
The movie was meant to explain away a one-off line made in the series, that admittedly I did sit and ponder whether or not they’d ever explain it, about the Sage of Six Path’s brother, Homura, who went to go live on the moon after they defeated their mother Kaguya. It was mentioned so briefly and only once that I thought for sure it wasn’t ever going to be brought up again. I also wondered where Byakugan came from since we’d gotten an explanation for Sharingan and Rennigan during the series, but never for Byakugan. I actually don’t mind the explanation that it came from Homura’s bloodline, I think that tracks well enough. The man on the moon bit was...odd, but when I thought of how strong Homura was, I didn’t think much of it. I actually thought he somehow was going to still be alive and he’d come down to earth after they defeated Kaguya, but that never happened.
Here’s the rub though, and one of my issues with the series as a whole, which is that the show seemed to keep writing itself into these weird corners where they’d be forced to do something completely nonsensical, purely because they were the ones who wrote them into those corners. It would’ve been simpler to just say all visual jutsu was derived from Kaguya’s power, or the Homura died so there’s no man on the moon, or that Tsunade died so Kekashi needs to become Hokage, etc. They didn’t have to write themselves into these scenarios, but they did anyway and the end result was them having to write complete and utter nonsense to rationalize why they did it in the first place.
Kekashi becoming Hokage doesn’t really make any sense, like at all. They literally bisected Tsunade during the war but willed her back to life when they could’ve just as easily killed her then and there since she’s largely irrelevant to the rest of the series after the war, and then it would’ve made more sense why Kekashi, the man who on numerous occasions said he didn’t want to be Hokage, would then be forced to become Hokage as he’d be the next strongest (eligible) shinobi after Tsunade. I feel like it was all meant to be a payoff to Obito’s dying words to Kekashi which told him to become Hokage, which even then I found myself asking why the fuck would he say that? Kekashi almost was Hokage once before and was so relieved when Tsunade woke up from her coma so he wouldn’t have to.
Also can we talk about how bad that final episode was? I mean don’t get me wrong, it was cutesy as fuck and actually brought a tear to my eye (when Naruto asked Iruka to be his dad I fucking lost it, I won’t lie), but they cut it off before the wedding? Before the aftermath? Before he becomes Hokage? Like I understand Boruto exists, but I don’t feel like that’s a justifiable excuse for ending your long-running series on merely the assumption that he’ll become Hokage in the future. Maybe if the show was a whole 500 episodes shorter I’d be comfortable with it ending on a vague, yet hopeful ending, but when I’ve spent fuck knows how many hours on this series you bet your ass I’m expecting some mother fucking payoff.
Also do not even get me started on Sasuke. What. The. Fuck?!?!? My guy literally just sends a note via carrier pigeon to the wedding? That’s it? Did I just fucking hallucinate the last 720 episodes or wasn’t Sasuke supposed to be like the second main character??? The absolute absurdity.
This isn’t even much of a comparison because it’s so much shorter than Naruto, but it’s all I got in the moment, but imagine if at the end of Return of the Jedi, Han Solo just decides to fucking dip. He’s just not there. He and Chewie hopped into the Millennium Falcon the moment the Death Star was destroyed and just dipped. No longer in the movie, just gone. Didn’t say anything to Luke or Leia, just up and left. That would be insane.
It’s even more offensive knowing him and Sakura end of together. My. Fucking. Gods. This has been the relationship I’d been dreading since the start when it became abundantly clear they weren’t doing even the barest minimum to actually establish a relationship between them. As it is, when I watched The Last, I thought to myself: “Well, Naruto and Hinata’s relationship hasn’t been the most well-developed relationship I’ve seen, but it’s still leagues better than whatever hatchet job they’re going to pull to convince me Sasuke and Sakura end up together”. We didn’t even get the hatchet job. That’s just how little of a shit they gave. They did not even bother pretending to give any explanation as to how I’m supposed to believe they end up together. I’m quite literally just supposed to believe it because I know it will happen. There’s no rhyme or reason to it, it’s just something that is and therefor I must accept it. Absolutely ridiculous. As it stands, the show gave us more reasons why Sakura and Lee should end up together than they did for her and Sasuke. Fuck, I’d even buy Sakura and Inu before I’d buy Sakura and Sasuke.
I could go on, I really could, but it’s late and I’m just looking forward to putting this behind me. At some point, probably not too soon, I will watch Boruto. As it is, my watch schedule is pretty thoroughly booked up for a while. I can’t foresee myself ever watching this again. I know I sound harsh on it, but I wanna reemphasize that I want to like this show. It’s not a show I think is bad period, it’s a good show I think was just done rather poorly. It all felt very off-the-cuff, much like this shitty review. I don’t know what the manga-to-adaptation pipeline looked like when the show was live, but clearly something got fucked up somewhere. This really feels like the Fullmetal Alchemist to Fullmetal Alchemist Brotherhood, and I can’t help but want Naruto to get the Brotherhood treatment...if such a treatment even exists.
#random rant#random#anime#personal#review#pls don't scream at me for my bad opinions#I get that this show was obscenely popular#still is to an extent#it was as painful for me to write this as it was for you to read it#I feel so conflicted on this#like I want to say I loved the show#because many many parts of it I did#but so many more parts just completely failed for me
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The Messy Relationship Between Sonic and Localization
Ask any Sonic fan and they’ll tell you that the fandom is one of the most fractured things to ever exist. It’s a miracle whenever we can all agree, and that usually comes from us collectively hating something (Sonic Movie’s original design, Ken Penders, etc.)--and even then, there’s a dedicated few who disagree. Many of us have such differing opinions on what the series “should” be, that satisfying all--or even a majority--of Sonic fans is next to impossible. How did it get this way? I think it has a lot to do with localization.
Classic Era
The 1990’s wasn’t the best decade when it came to localizing anything, especially not video games. Often, some creative liberties would be taken when adapting a source from Japanese to English. The Sonic franchise was no exception to this. The first split comes from the game manuals. Me and @rontufox already made a post discussing this, but the Japanese manuals gave a little background info on the series’ lore and worldbuilding. The English versions gave a bare-bones description of the premise of each game, but that’s about it. There were no mentions of an apocalypse caused by people misusing the Chaos Emeralds, of Sonic finding the ring that would foreshadow Knuckles Chaotix, or of Knuckles thinking the Death Egg was a ‘Dragon’s Egg’ described in ancient legends. Sonic went to a bunch of colorful zones, beat up Dr. Robotnik, collected some magic stones, and maybe a new character or two would tag along, but there was nothing else to it. There was no dialogue and few cutscenes in the games at this time, so the English localizers could get away with this.
Since there wasn’t much to go on games-wise, English fans at the time got their perception of Sonic and his world from various comic and cartoon adaptations. The American-produced ones portrayed Sonic as an in-your-face smart aleck who was almost completely full of himself. The UK-produced Sonic the Comic starred Sonic as a self-described “cool guy” who cared little about the people around him, including friends. Whatever worldbuilding these adaptations had either didn’t exist or diverged completely from the games, because the writers, even if they did care, didn’t have much to go on. There also weren’t a lot of Japanese Sonic adaptations at the time, and the only one that got localized was Sonic the Hedgehog: The Movie (aka Sonic OVA). To English-speaking fans, Sonic was an arrogant but funny hedgehog who despite everything, got the job done. Aside from Dr. Robotnik, other characters were an afterthought and could be replaced as needed.
Adventure Era
Sonic Adventure released in 1998 with fully voice-acted cutscenes, and localization differences started catching up. Some things were easy to fix, such as Dr. Eggman (Robotnik’s name in Japanese) being a nickname for Dr. Robotnik. Other things weren’t that simple. For instance, some of those little things mentioned in the Japanese manuals started showing up again, specifically the apocalypse caused by people misusing the Chaos Emeralds. Sonic Adventure was a soft-reboot, where most previous characters and worldbuilding are still there, but some details are left behind so that newcomers have an easier time entering the series. There also might be changes in the series’ tone. For example, Sonic Adventure was somewhat more serious than previous games could be, but still overall lighthearted. This was also the first of many mainline games during this time to have an ensemble cast. Instead of just playing as Sonic, or maybe Tails and Knuckles, you were required to play all three of them plus other characters, with different stories and gameplay styles. This was a tall task, but these games pulled it off well enough to be very popular at the time. Themes of friendship became very prominent in the games around this time, and to further cement it, Sonic X, a Japanese-produced anime came out and got localized in the United States. Sonic was still a little cocky in English dubs of the games and anime, but he was also free-spirited and very supportive of his friends instead of being preoccupied with being the coolest person in the group. For the most part, his English and Japanese portrayals were nearly indistinguishable. Other characters also got more screentime and focus on their personalities, and popular new characters like Shadow and Rouge were introduced to the cast. All was going great.
Then 2006 came around. Shadow the Hedgehog and Sonic the Hedgehog (aka Sonic 06) came out, ushering in a period of very poorly received Sonic games, the latter being seen as a contender for the worst game of all time. Shadow the Hedgehog was an attempt at explaining why the titular character was alive after apparently being killed off Sonic Adventure 2, but the gritty and somewhat melodramatic tone was seen as ill-fitting for the Sonic franchise. The gameplay was also lacking, in part due to other characters tagging along with Shadow and repeatedly telling him hints and mission objectives. The problem of characters talking a lot mid-gameplay was present in Sonic Heroes, but the gameplay itself was passable enough that the game didn’t completely suffer for it. Shadow the Hedgehog tied up the last plot threads the Sonic Adventure series left behind, so the series had to go somewhere different. Sonic 06 was another soft-reboot, so that newcomers wouldn’t have to study up on the games from Sonic Adventure to Shadow the Hedgehog. Because the game was rushed for the holiday season, it was glitchy, didn’t feel good to play, and the writing was… very flawed. The game’s tone was slightly lighter than Shadow the Hedgehog, but still a little too melodramatic for most fans.
With all of these changes in mind, further splits in the English-speaking fandom occurred. Many vocal Classic fans were thrown off by the series being heavier on plot, worldbuilding, and Sonic’s friends. They wanted to go back to a time when none of that existed, and when Sonic was just an arrogant jokester--a time that only existed in 90’s US and UK. Newer, Adventure-era fans grew up with these new changes and loved them, though many of them were also not happy with Shadow the Hedgehog and subsequent games’s handling of these things. Because of Shadow the Hedgehog and Sonic 06’s spectacular failure in handling different characters’ gameplay, one sentiment was repeatedly echoed--that only Sonic should be playable. Since then, with very few exceptions, only Sonic has been playable in mainline Sonic games. This still wasn’t enough to save the games. Games after Sonic 06 often had a core gimmick to them, many of which weren’t received well, and the ones that were got replaced by the next game. The writing had the same feeling to it, though. It shied away from the melodrama of the most hated entries, but still retained the sincerity of entries like Sonic Adventure.
Modern Era
That changed in 2011 with Sonic Colors. Instead of Sonic Team writing the games, they hired Ken Pontac and Warren Graff, two American writers known for working on Happy Tree Friends. Neither had much knowledge of the previous games’ characters, worldbuilding, or stories, but this was intentional. Sonic games sell less in Japan, so Sega probably wanted to put more focus into pleasing audiences in America and Europe. The two went off some basics about the characters and setting, and what little they knew previously. There is some supervision by Takeshi Iizuka, a longtime Sonic Team member who is currently the head of the series after creator Yuji Naka left in the mid-2000’s, but he is interested in the series going in a new direction. Sonic Colors was another soft reboot of the series, but because of the writer’s lack of knowledge about the series a lot more details were lost and changes made than in any of the previous ones. The writing is lighthearted, but most of the sincerity has been traded for attempts at comedy, which tend to be hit and miss. Sonic as a character retains his free spirit and some kindness towards his friends, but some of the self-importance of his English interpretation is making a comeback. Many of the characters from previous games make returns, but they’re written oddly (“Y’got this, Sssonic!” - Shadow, Sonic Generations (2011)) and the writers don’t quite know how to integrate them. Sonic Colors was well-received for its gameplay, and even the writing was praised at the time, but most subsequent games have middling reception. None are considered outright bad (except Sonic Boom, but that was a spinoff that Sega contracted a different company to do) or outright good (except Sonic Mania, which Sega contracted a team of fans to do.)
Conclusion
As it stands now, the Sonic franchise is a strange hybrid of the Japanese and English interpretations of Sonic. A lot of the Adventure Era fans are old enough to start noticing the changes in the writing in the Modern Era, and some aren’t big fans. Some are, though. Some of the Classic fans are satisfied with these changes, others aren’t impressed either preferring the Classic or even Adventure Era. Some people like the Classic Era, but not the English interpretations of the series. There are likely Modern fans who grew up with this version of the Sonic franchise and love it, but there may be ones that have seen previous iterations and prefer those better. There are many differing opinions and few can agree on what would be good for Sonic. Would things have been different if localization had been handled differently in the 90’s? Who can say? All we have to go by are ripples from the errors of the past.
#sonic the hedgehog#this concludes my text-form video essay#in this essay i DID#can write an essay about sonic but not for college
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Top 20 Best Movies of the Decade (2010′s)
Now that we have entered the 2020s, it’s time to look back on a decade of movie magic. To emphasise the importance of each year, I’ll balance things out by including two films from each year for my Top 20 list. I’ve tried to pick films that both defined this decade as well as appealed to me personally, so my list will of course, as always, be different from yours, but hopefully, I won’t totally irritate you with my humble choice, which I deem worthy to post online for the public eye to witness.
2010:
INCEPTION - “You’re waiting for a train...” Christopher Nolan unarguably is the most exciting and original directors working today. Each time he releases a movie, its an event. A literal must-see at the cinema. Which is why this isn’t the only film of his you will find on this list. With Inception, Nolan gives us a movie that is both enjoyable and imaginative, rewarding the audience for the attention that it demands. Filled with so much detail that if you miss certain shots, you will completely get lost in confusion of the narrative (as confusing as it already is). It’s intense and complex, with great performances from the likes of Leonardo DiCaprio and Tom Hardy, this movie will leave you lingering for more even after that mysterious ending.
SCOTT PILGRIM VS. THE WORLD - “You cocky cock! You'll pay for your crimes against humanity!” Once again, another exciting director on this list (oh there are so so many!). Ever since Edgar Wright emerged from the British isles, he’s given us some of the funniest films of the past decade and onwards. His Cornetto Trilogy is a blast, Baby Driver is a blast, Ant-Man was going to be even more of a blast if Marvel allowed Wright to do his magical shenanigans his way, and the upcoming Last Night in Soho will surely be a blast also. With Scott Pilgrim vs. The World Wright creates a meta-clever universe taking inspiration from comic books and video games and filled to the brink with wink-wink-nudge-nudge humour, this is an exciting and very sarcastic over the top endeavor. Also, Brie Larson in this movie.....phew!! And unsurprisingly, its all a blast!
2011:
DRIVE - “I just wanted you to know, just getting to be around you, that was the best thing that ever happened to me.” Drive is more of an elegant exercise in style, and its emotions may be hidden but they run deep. A shamelessly disreputable, stylish, stoic, ultra-violent thriller with amazing stunt work, one of the best opening sequences of any movie this decade and a neon-pumped soundtrack that’s a must-own for all vinyl users, if you still haven’t seen Drive, there’s only one thing you can do. Clue: it’s to go watch Drive.
MISSION: IMPOSSIBLE - GHOST PROTOCOL - “Your mission, should you choose to accept it...” Tom Cruise’s deal with the devil allows him to do some literally impossible stuff, and though I don’t condone his Scientology ways, the man’s stunt work and efforts in his area of expertise are worth all the praise and respect. To be honest, I’m commemorating all three of the Mission Impossible flicks that graced our screen this year (Ghost Protocol, Rogue Nation and Fallout). This franchise is like a game of dodgeball, except that Tom Cruise is the dodgeBALL, being thrown and thrust left and right like nobody cares. Also, with me being Russian, the fact that a movie manages to destroy the Kremlin and then have me not hate the film in the aftermath shows that this film is way too fun to hate.
2012:
DJANGO UNCHAINED - “Gentlemen, you had my curiosity, but now you have my attention.” Quentin Tarantino is one of my favourite directors working today. And Django Unchained happens to be my favourite film of his. The writing for this film is orgasmic (I went there!). The way the actors deliver the lines and the lines of dialogue themselves sound almost poetic to my ears. I can quote so many lines from this darn thing. The cinematography is immaculate. The soundtrack choice is great. The performances, my goodness, the PERFORMANCES!! Jamie Foxx does arguably his career-best work here, but also we have Christoph Waltz and Leonardo DiCaprio both chewing up the scenery, and I’m sure everyone has heard the story involving DiCaprio and the broken glass. Django Unchained is an easy choice on this list for me, and possibly in my Top 10 of all time.
LES MISERABLES - “Do you hear the people sing?” The film that is based on a musical that is based on a book that is based on certain true events. Tom Hooper did an interesting choice of having actors sing live in front of the camera during filming rather than pre-record their voices, and it works to grand effect, though Russell Crowe should have probably been given more singing lessons. The movie is one hell of a way to adapt such a popular stage musical. With an opening shot that emphasises the scale of this picture with a zoom-in towards this big ship during a storm being pulled by these poor prisoners, we are plunged into the despair and conflicts of various characters with adroit narrative thrust so that not a moment feels wasted or redundant. You’d think that a film with hardly any dialogue and an overall reliance on singing wouldn’t be so emotional. Yet, somehow, it works. Also props to Anne Hathaway for winning an Academy Award for being in a film for only 5 MINUTES!!
2013:
THE WOLF OF WALL STREET - “Sell me this pen.” Martin Scorsese’s mad look into Wall Street life is a bombastic caper and running at nearly 3 hours, Scorsese and his editing team manage to keep an astoundingly intoxicating pace that keeps you enthralled and engaged throughout. This one is definitely not for the families, as this R-rated fest is filled with drugs, money, sex and everything you can possibly imagine and paints quite the picture of the rich folks of Wall Street. And the middle of it all a bravura performance from Leonardo DiCaprio. Someone needs to give DiCaprio’s agent a raise, this is Leo’s third appearance on this list and we’re only in 2013!
THE WAY WAY BACK - “I'm afraid I'm going to have to ask you to leave. You're having way too much fun, it's making everyone uncomfortable.” Sometimes a little indie flick is enough to lift a human spirit. Real, fun, uplifting and innocent, The Way Way Back dedicated to anyone who felt awkward or out of place at some point in their life, which, let’s be honest, counts all of us. I’m not afraid to admit that. So stop being a b*** and reveal your sensitive side too! Yes, you, the person reading this. Who else could I possibly be talking to? Myself? Maybe. The Way Way Back though is one of the best feel-good indie films of this decade, with the loveable Steve Carell acting very unloveable and Sam Rockwell Rockwelling himself to charm city! If you’ve missed this one, treat yo’self and check it out.
2014:
THE GRAND BUDAPEST HOTEL - “And?? Where is it? What's it all about dammit don't keep us in suspense this has been a complete f***ing nightmare! Just tell us what the f*** is going on!!!” Easily Wes Anderson’s best in my opinion (I have a friend who would argue Rushmore and The Royal Tenenbaums has the better hand but I think my opinion is more valid because it's me), this movie is a glossy, colorful, whimsical deadpan affair with an energetic turn from Ralph Fiennes as the hotel concierge M. Gustave H. as he and his lobby boy run into various Wes Anderson regulars and deal with murderers, stolen paintings, love affairs, prison breaks, and all kinds of crazy shindigs, but all shown in such a casual Wes Anderson way. This movie is like a slice of cherry pie - damn fine!
INTERSTELLAR - “Murphy’s Law doesn’t mean that something bad will happen. It means that whatever can happen, will happen.” As promised, Christopher Nolan makes another appearance on this list, now with his space time-traveling epic Interstellar, where he takes inspiration from the likes of Kubrick and Tarkovsky to give us, as always, a tad bit confusing adventure with great visuals and an interesting narrative (though it does sometimes get lost in its own way), however, the key thing holding this piece together is the father-daughter relationship with Matthew McConaughey and Mackenzie Foy (and Jessica Chastain) managing to bring so much raw emotion to their respective roles that you can’t help but want to shed a tear. I mean, I haven’t cried for over 14 years, but I remember when I first watched this film, the audience around me was sobbing quite a few times during the duration of this movie. Give it to Nolan to give us the emotional moments!
2015:
MAD MAX: FURY ROAD - “Oh what a day! What a lovely day!!” Easily the best action movie of this decade. Sorry John Wick, neither you or Tom Cruise could defeat this beast. The sheer, limitless invention behind this movie's exhilarating, preposterous chase scenes highlights action filmmaking at its finest. With big monster trucks and a random guitarist rocking-it in the middle of all the action, it’s like a nihilistic version of a Cirque du Soleil show! And it makes Tom Hardy the calmest person on-screen; no idea how it managed that.
STEVE JOBS - “I sat in a garage and invented the future because artists lead and hacks ask for show of hands.” If there is anyone who can make formulaic, mathematical or technological sound fun and exciting, its Aaron Sorkin. The man has a talent for writing screenplays about difficult and complicated topics yet turning them approachable for the casual moviegoer. Pair him with director Danny Boyle, and the result is Steve Jobs, a look at the man behind the phone. Narratively set during three important product launches of Jobs’, we get to see the behind-the-scenes of his relationships with his colleagues and family members, and this character study is one that could have easily fallen into generic biopic tropes, but it holds it’s own right till the credits roll. Also props for showing that Seth Rogen can actually do a serious role. Who would’ve thought that pot-smoking fella had dramatic chops in him?
2016:
NOCTURNAL ANIMALS - “Susan, enjoy the absurdity of our world. It’s a lot less painful. Believe me, our world is a lot less painful than the real world.” Fashion designer Tom Ford does sew his suits well. Apparently, he can also make great films too, with 2009′s A Single Man and with said Nocturnal Animals. This movie is truly incredible and I remember it taking me and my friend by surprise when we first watched it at the cinema. It’s shocking. Horrifying. Depressing. Upsetting. Altogether exhilarating. Being of a fashion background, Tom Ford directs the hell out of this movie, with gorgeous shots and great use of colour as well as managing to masterfully create tension and suspense when necessary. Honestly, I know Tom Ford is probably busy at a department store somewhere, but the guy needs to make another movie. The man has a talent.
LA LA LAND - “Here’s to the ones who dream, foolish as they may seem. Here’s to the hearts that ache; here’s to the mess we make.” Oh, La La Land. Damien Chazelle’s follow-up to the also excellent Whiplash. People who know me well know how much I love this movie. An old-school tour-de-force musical that’s a love letter to jazz and the golden age of Hollywood. The city of stars never looked so good. Featuring catchy original songs, excellent dance choreography (the sequence to the song “Lovely Night” is especially memorable) and a romance tale ten times better than the forsaken The Notebook, La La Land is one special movie. I know many are put off by the film’s not so happy ending, however for me it was the only way this narrative could have ended.
2017:
BLADE RUNNER 2049 - “We’re all just looking out for something real.” Similarly to Nolan, Denis Villeneuve is proving to be one of the most exciting directors working today. He’s the man behind such films as *deep breath* Prisoners, Enemy, Sicario, Arrival and Blade Runner 2049. And those have all been done within the last decade. The man constantly makes quality movies of various genres, though lately, he has been leaning more towards science fiction, which is a-okay in my books, since as Blade Runner 2049 proves, he can turn science into fiction like butter on bread. A sequel made 30 years after Ridley Scott’s classic, this visually breathtaking piece is arguably even better than its predecessor with many moments giving you the “wow wow wow wow wow WOW!” factor, and when Ryan Gosling and Harrison Ford are both on-screen they are dynamite. Forget the new Star Wars film (that’s right, I'm throwing shade there), Blade Runner is where it’s at!
PHANTOM THREAD - “The tea is going out. The interruption is staying right here with me.” The supposed last Daniel Day-Lewis film, as he has now apparently retired from acting, but let’s be honest, nothing stops him from simply unretiring at any point. Exhibit A - Joe Pesci. However, like Pesci, if he comes back I’ll only be happy. He’s one of acting greats of our time, and his collaborations will director Paul Thomas Anderson bring out some of his best roles. Phantom Thread is a marvel of a movie. No, I don’t mean that’s its part of the Marvel Cinematic Universe, I mean as in it can fill one with wonder and astonishment. Phantom Thread is PTA’s Gothic dark fairy-tale romance film, which expertly planned shots and scenes where every word of the dialogue counts. There is no wasted moment. And as the film transpires to its dark and unsettling climax, one begins to realize that this, THIS, is what filmmaking is about. Telling an engrossing story in an interesting way with crisp-clear shots and off-the-chart acting at play, with great costume design on display, although the latter is unsurprising due to a major aspect of the movie revolving around fashion.
2018:
MANDY - “You ripped ma shirt!! You ripped maaa shiirrt!!” An acquired taste for sure, however, Mandy is indeed something truly special. From first glance, this film might seem like nothing out of the ordinary, especially from the point of view of the plot. Its the usual revenge flick. However director Panos Cosmatos’ vision and how he presents it is so much more unique. And what’s not love in this film? There’s something for everyone! It’s artsy and slow enough for the critics, hip and metal for the nonchalant, gory and violent for the hardcore genre fanatics and of course the Nic-Cage-rage factor is present for the fans of the actor. Alright, it may not be a family film, but this one is worth a watch. The whole thing is bound together by this psychedelic otherworldly environment, with the whole movie conceived in this dark, unsettlingly beautiful yet horror-filled aura that might stray people away, as it might be just too different for them, however, if you are looking for something different to watch, take mandy. I mean, watch Mandy!
A STAR IS BORN - “Music is essentially 12 notes between any octave. Twelve notes and the octave repeats. It’s the same story told over and over. All the artist can offer the world is how they see those 12 notes.” The film that began all the rumours surrounding Bradley Cooper’s and Lady Gaga’s affair. People, heads up, they are actors! They were putting on a performance! Jeez. That being said, I totally ship them. Nuff’ said. The film though? Yes, it’s good. Some country-style music, romance blooming, Gaga can apparently act, people sing about shallows for some reason...all together works for a pretty decent motion picture. Also, the fact that Bradley Cooper wrote, directed, produced and starred in this gives me so much respect for the guy. He poured his heart and soul into this. And Lady Gaga absolutely shines!
2019:
PAIN & GLORY - “Writing is like drawing but with letters.” Director Pedro Almodovar semi-autobiographical film takes a close look at how one deals with acceptance, being forgotten, symptoms of depression and generally all fairly negative attributes, but delivered in such an honest and profound way that there is a strange lightness that emerges from it all. Antonio Banderas is uncannily vulnerable in the lead role, delivering such an earnest performance that shows a man that is filled with melancholic regret who seeks his own form of redemption. This movie is a thing of beauty.
PARASITE - “You know what kind of plan never fails? No plan at all. If you make a plan, life never works out that way.” Parasite is easily the most original and surprising films of 2019, and possibly the decade, managing to subvert expectations and blend together so many different genres so naturally. To spoil any narrative element of this movie would be a sin, like this one in particular works best when not knowing anything about it. This movie comes to us from Bong Joon-Ho, a South Korean director behind such films as The Host, Memories of Murder, Okja, and Snowpiercer. It’s nice to see the awards ceremonies giving him the proper recognition finally. He deserves it.
That sums up my Top 20 Best Movies of the Decade list. Of course, there are so many other great films that came out in these 10 years, such as Whiplash, When Marnie Was There, Paterson, Silence, Kubo and the Two Strings, The Nice Guys...I can go on forever. Cinema is a constant ever-growing medium, and it is fascinating to see how it changes through the years, in some ways improving and in some parts not so much. In any case, I look forward towards a new decade of, hopefully, great movies, however, let’s be honest, for all these great films there’s always a Norm of the North, a Scout’s Guide to the Zombie Apocalypse or frickin’ Cats. But let’s hope those will be kept to a minimum. In any case, bring on the 2020s!
#best movies of the decade#top 10#top 20#best films#best movies#best movies of 2019#inception#parasite#pain and glory#mad max fury road#mandy#a star is born#les miserables#the grand budapest hotel#scott pilgrim vs the world#blade runner 2049#phantom thread#la la land#django unchained#nocturnal animals#movies#film#cinema#best films of the decade#best films of the 2010s#best movies of the 2010s#interstellar#drive#the wolf of wall street#steve jobs
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Nosu Koshu’s return combines the Black Mercy from Superman with a Dragon Quest isekai plot that doesn’t really deliver much in the way of innovative gags and, in terms of plot, only perpetuates vague hints at larger schemes by Uneras. But maybe Ren’s sister Rin is going to get to be more relevant, so that’s good.
“Nosu Koshu of Illusions,” Magu-chan: God of Destruction, Chapter 56
By Kei Kamiki, translation by Christine Dashiell, lettering by Erika Terriquez
Available from Viz
Spoiler Warning for the Dragon Quest animated film.
Nosu Koshu, the dream god, is like the Black Mercy from Superman mythos. First appearing in the comic “For the Man Who Has Everything” by Alan Moore and Dave Gibbons, then adapted for Justice League Unlimited and Supergirl, it is an alien being that lets you dream of your most ardent desires–but usually with some catch, not just that, to remove the Mercy from yourself is to lose that perfect dream, but because even within that dream, like any utopia, there is always some dark side behind it. When Nosu Koshu popped up first in Magu-chan, she gave Ruru the dream of being reunited with her dead father, at the cost of being with Magu and living a healthier life of coping with loss and finding new opportunities despite that loss.
Nosu Koshu gave Magu-chan the best arc it has had up to this point–so bringing her back now for a parody of Dragon Quest and isekai storylines is tiresome. Hell, I hated that Dragon Quest animated film for its twist at the end regarding isekai stuff, so unfortunately that example tainted my appreciation for where this chapter was going.
I’m not being entirely fair to this chapter: there were details I liked. I admit some of those details were gags that I should have seen coming: Magu being reduced to a Dragon Quest Slime monster, or Uneras being shown as the final boss (which, as I’ll talk about in a moment, is potential foreshadowing to her being the Big Bad all along for this series). And I laugh heartedly when Ruru said they’ll just skip the maze level and thanks Muscar for the warning; as repetitive as their dynamic is, I do like the groove the series has set, Muscar struggling to be fearsome and intimidating and Ruru, not out of simpleness but kindheartedness, looking on the bright side and taking Muscar’s remarks as helpful rather than intimidating.
But isekai storylines have been done to death. “Magic technology goes out of wack” like Uneras putting Izuma to sleep, then having magic eyemasks to put the others into Izuma’s dream, are plot details I expect from some of the worst manga that repeatedly persist with that trope. If I want the mad scientist who keeps making magic-like objects that cause wacky hijinks, I’d get back to writing Mei Hatsume fanfiction, not sitting through G-rated To Love-Ru.
I’m trying to judge the series by its own previous examples: if you’re going to invoke a certain type of video game, even if it is an RPG, I am stuck comparing how this same series handled the fighting game tropes, offering a funny version of Smash Bros while also having more clever gags that invoke the invitation envelope from that franchise as well as even designing a bulkier headband-wearing Magu to look like Ryu from Street Fighter.
But even still, I think how another series would handle this kind of plotline about Dragon Quest-style RPGs and isekai plotlines–because I’ve seen Gintama do it, not only to parody the same content but to do the exact same plot, that being to get into someone’s body (more specifically for Magu-chan, someone’s mind) to help them through a health-related problem. And when there are so many isekai stories out there, it is ripe for parody–and there have been enough of such parodies in other series, or even isekai that are parodying their own genre and undermining their own narrative conventions.
The gags in this chapter also felt less impressive than those in previous chapters. The problem the series has had since depowering Muscar has been Uneras, and I hate saying that when she is, for better or worse, a character who resonates for manga and anime fans like us, someone portrayed as ostensibly a Western fan whose fixation on the tropes of Japanese comics and animation shows an outsider’s perspective that just gets details wrong and invokes cringe. Maybe it is naive for me to think this is all innocent: as a fan in the United States, who is going to misread cultural aspects of works that are created in cultural contexts outside of where I am, I really try to be aware and not make claims I cannot support.
So, maybe Uneras is a warning for people who think they are being reasonable and having good intentions but whose misreadings are doing actual harm. It’s not that difficult a way to measure her, given her other problematic behavior: her reaction in this chapter of thinking “hawt” upon seeing Izuma oppose her, after the series has already presented Uneras as a pseudo-maternal figure to Izuma, is all kinds of Oedipal squick that, no, ew, stop, please.
When you keep making Uneras’s behavior the instigation for the plot–creating the problems for the characters to solve–her role as the trouble-maker, as the troll, lacks the same complexities we saw earlier. When she first appeared, her antics inadvertently caused problems: if she had told Ruru that the cookies she ate would make her too powerful, then Ruru would not have accidentally blasted Izuma and Magu. In her subsequent appearances, she was carefully placed in alternative positions, sometimes purposefully trolling the characters, sometimes unintentionally causing problems that thankfully were harmless enough to be corrected by story’s end with minimal ramifications and no malice. Then she depowered Muscar, bringing the story back to square one in terms of giving him a potential redemption arc, and invoking colonialist imagery that shows her cultural ignorance is not necessarily amusing but dangerous.
If we don’t want to read something deeper behind Uneras’s behavior, within the plot of the manga itself, there is an easier understanding for why she is trolling people, tricking them, and now pulling such a dangerous Black Mercy god like Nosu Koshu into her ranks–and it’s been obvious since Uneras’s first introduction. When she premiered in unlucky Chapter 13, she made it clear that she is playing the humans and gods against each other, that she sided with the humans against her own kind to keep the gods in check. She is not the traditional notion of a hero, she is not a good-hearted cliche like Ruru: she is a puppetmaster, and that opens up more potential for what to do with her in this manga, and I tense up either because she will emerge as an antagonist in this story or because I am now attached to this idea and will feel disappointed if my prediction does not pan out that way (which, seeing as I am wanting to see every tiny cute creature as a potential villain–e.g., Nezu in My Hero Academia–may be my problem and not that of the stories’: “When you’re a hammer, and everything looks like a nail…”).
That leaves us with what the story does with Nosu Koshu. Since her introduction, she has been a passive character, fitting for a god whose ability puts people to sleep in the dream that best serves the reality they want to enter. That power gave Magu-chan the kind of storyline even the goofiest gag manga needs, one that showed how Ruru has mourned her father’s death and gave joke characters like Naputaaku a chance to rise to the occasion. But now that Nosu Koshu’s threat has been diminished, the manga is trying to figure out where to position her–and the conclusion they reach is to give Ren another god to look after. I had enjoyed how Magu-chan added more gods but made sure to give those gods their own human Pokemon trainer, so introducing Nosu Koshu but not giving her her own unique human is retreading whatever characterization we could get from Ren without developing a currently present human or a new human character we could add. It’s like when Transformers Prime introduced Smokescreen and gave him Jack as his human partner: Jack already has Arcee, and that choice diminished opportunities to give Arcee the spotlight, as her storyline faded more and more into the background while Smokescreen’s role got larger and larger. Diminishing the only woman-coded Autobot to the background didn’t help either.
But speaking of sidelining women characters, if we are going to have Nosu Koshu at the Fujisawa restaurant–and, as they do have a beach stand, it does make sense to apply this god’s talents there after Mother Fujisawa exhausted herself in an earlier chapter–pair Nosu Koshu with Ren’s sister Rin. While I have enjoyed Rin’s dynamic with Naputaaku, he is already Ren’s god partner, and Rin’s schtick has been rather stale: in the beach stand chapter, we did learn she desires to rise to the occasion to run the family business, belying her slacker demeanor. But if we’re going to move beyond the tiresome slacker schtick, having her be the partner to a literal sleepyhead like Nosu Koshu makes sense and could help both characters, contrasting how Rin’s passivity differs from Nosu Koshu’s, and showing that Rin has actual dreams she is trying to reach in her own way while Nosu Koshu has been content to force other people to literally dream without having any goal of her own. Like I just said, I tend to write ideas that I hope a story will take, then I feel disappointed when they don’t go there, and that unfairly influences my reviews. But I hope I got this one right, because after the previous chapter and now this one, it feels like Magu-chan needs an emotionally impactful chapter to give more direction to where the gags should go.
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Weekend Top Ten #482
Top Ten Sega Games
So I read somewhere on the internet that in June it’s the thirtieth birthday of Sonic the Hedgehog (making him only a couple of months younger than my brother, which is weird). This is due to his debut game, the appropriately-titled Sonic the Hedgehog, being first released on June 23rd. As such – and because I do love a good Tenuous Link – I’ve decided to dedicate this week’s list to Sega (also there was that Sonic livestream and announcement of new games, so I remain shockingly relevant).
I’ve got a funny relationship with Sega, largely because I’ve got a funny relationship with last century’s consoles in general. As I’ve said before, I never had a console growing up, and never really felt the need for one; I came from a computing background, playing on other people’s Spectrums and Commodores before getting my own Amiga and, later, a PC. And I stuck with it, and that was fine. But it does mean that, generally speaking, I have next to zero nostalgia for any game that came out on a Nintendo or Sega console (or Sony, for that matter). I could chew your ear off about Dizzy, or point-and-click adventure games, or Team 17, or Sensible Software, or RTS games, or FPS games, or whatever; but all these weird-looking Japanese platform games, or strange, unfamiliar RPGs? No idea. In fact, I remember learning what “Metroidvania” meant about five years ago, and literally saying out loud, “oh, so it’s like Flashback, then,” because I’d never played a (2D) Metroid or Castlevania game. Turns out they meant games that were, using the old Amiga Action terminology, “Arcade Adventures”. Now it makes sense.
Despite all this, I did actually play a fair few Sega games, as my cousins had a Mega Drive. So I’d get to have a bash at a fair few of them after school or whatever. This meant that, for a while, I was actually more of a Sega fan than a Nintendo one, a situation that’s broadly flipped since Sega stopped making hardware and Nintendo continued its gaming dominance. What all of this means, when strung together, is that I have a good deal of affection for some of the classics of Sega’s 16-bit heyday, but I don’t have the breadth or depth of knowledge you’d see from someone who, well, actually owned a console before the original Xbox. Yeah, sure, there are lots of games I liked back then; and probably quite a few that I still have warm nostalgic feelings for, even if they’re maybe not actually very good (Altered Beast, for instance, which I’m reliably informed was – to coin a very early-nineties phrase – “pants”, despite my being fond of it at the time). Therefore this list is probably going to be quite eccentric when compared to other “Best of Sega” lists. Especially because in the last couple of decades Sega has become a publisher for a number of development studios all around the world, giving support and distribution to the makers of diverse (and historically non-console) franchises as Total War and Football Manager. These might not be the fast-moving blue sky games one associates with Sega, but as far as I’m concerned they’re a vital part of the company’s history as it moved away from its hardware failures (and the increasingly lacklustre Sonic franchise) and into new waters. And just as important, of course, are their arcade releases, back in the days when people actually went to arcades (you know, I have multi-format games magazines at my parents’ house that are so old they actually review arcade games. Yes, I know!).
So, happy birthday, Sonic, you big blue bugger, you. Sorry your company pooed itself on the home console front. Sorry a lot of your games over the past twenty years have been a bit disappointing. But in a funny way you helped define the nineties, something that I personally don’t feel Mario quite did. And your film is better than his, too.
Crazy Taxi (Arcade, 1999): a simple concept – drive customers to their destination in the time limit – combined with a beautiful, sunny, blue skied rendition of San Francisco, giving you a gorgeous cityscape (back when driving round an open city was a new thrill), filled with hills to bounce over and traffic to dodge. A real looker twenty years ago, but its stylised, simple graphics haven’t really dated, feeling fittingly retro rather than old-fashioned or clunky. One of those games that’s fiendishly difficult to master, but its central hook is so compelling you keep coming back for more.
Sonic the Hedgehog 2 (Mega Drive, 1992): games have rarely felt faster, and even if the original Sonic’s opening stages are more iconic, overall I prefer the sequel. Sonic himself was one of those very-nineties characters who focused on a gentle, child-friendly form of “attitude”, and it bursts off the screen, his frown and impatient foot-tapping really selling it. the gameplay is sublime, the graphics still really pop, and the more complex stages contrast nicely with the pastoral opening. Plus it gave us Tails, the game industry’s own Jar Jar Binks, who I’ll always love because my cousin made me play as him all the time.
Medieval II: Total War (PC, 2006): I’ll be honest with you, this game is really the number one, I just feel weird listing “Best Sega Games” and then putting a fifteen-year-old PC strategy game at the top of the pile. But what can I say? I like turn-based PC strategy games, especially ones that let you go deep on genealogy and inter-familial relationships in medieval Europe. everyone knows the real-time 3D battles are cool – they made a whole TV show about them – but for me it’s the slow conquering of Europe that’s the highlight. Marrying off princesses, assassinating rivals, even going on ethically-dubious religious crusades… I just love it. I’ve not played many of the subsequent games in the franchise, but to be honest I like this setting so much I really just want them to make a third Medieval game.
Sega Rally Championship (Arcade, 1994): what, four games in and we’re back to racing? Well, Sega make good racing games I guess. And Sega Rally is just a really good racing game. Another one of those that was a graphical marvel on its release, it has a loose and freewheeling sense of fun and accessibility. Plus it was one of those games that revelled in its open blue skies, from an era when racing games in the arcades loved to dazzle you with spectacle – like when a helicopter swoops low over the tracks. I had a demo of this on PC, too, and I used to race that one course over and over again.
After Burner (Arcade, 1987): there are a lot of arcade games in this list, but when they’re as cool as After Burner, what can you do? This was a technological masterpiece back in the day: a huge cockpit that enveloped you as you sat in the pilot’s seat, joystick in hand. The whole rig moved as you flew the plane, and the graphics (gorgeous for their time) wowed you with their speed and the way the horizon shifted. I was, of course, utterly crap at it, and I seem to remember it was more expensive than most games, so my dad hated me going on it. But it was the kind of thrilling experience that seems harder to replicate nowadays.
Virtua Cop (Arcade, 1994): I used to love lightgun games in the nineties. This despite being utterly, ridiculously crap at them. I can’t aim; ask anyone. But they felt really cool and futuristic, and also you could wave a big gun around like you were RoboCop or something. Virtua Cop added to the fun with its cool 3D graphics. Whilst I’d argue Time Crisis was better, with a little paddle that let you take cover, Cop again leveraged those bright Sega colours to give us a beautiful primary-coloured depiction of excessive ultra-violence and mass death.
Two Point Hospital (PC, 2018): back once again to the point-and-clickers, with another PC game only nominally Sega. But I can’t ignore it. Taking what was best about Theme Hospital and updating it for the 21st Century, TPH is a darkly funny but enjoyably deep management sim, with cute chunky graphics and an easy-to-use interface (Daughter #1 is very fond of it). The console adaptations are good, too. I’d love to see where Two Point go next. Maybe to a theme park…?
Jet Set Radio Future (Xbox, 2002): I never had a Dreamcast. But I remember seeing the original Jet Set Radio – maybe on TV, maybe running on a demo pod in Toys ‘R’ Us or something – and being blown away. It was the first time I’d ever seen cel shading, and it was a revelation; just a beautiful technique that I didn’t think was possible, that made the game look like a living cartoon. Finally being able to play the sequel on my new Xbox was terrific, because the gameplay was excellent too: a fast-paced game of chaining together jumps and glides, in a city that was popping with colour and bursting with energy. Felt like playing a game made entirely of Skittles and Red Bull.
The Typing of the Dead (PC, 2000): The House of the Dead games were descendants of Virtua Cop’s lightgun blasting, but with zombies. Yeah, cool; I liked playing them at the arcades down at Teesside Park, in the Hollywood Bowl or the Showcase cinema. But playing this PC adaptation of the quirky typing-based spin-off was something else. A game where you defeat zombies by correctly typing “cow” or “bottle” or whatever as quickly as possible? A game that was simultaneously an educational typing instructor and also a zombie murder simulator? The fact that the characters are wearing Ghostbusters-style backpacks made of Dreamcast consoles and keyboards is just a seriously crazy detail, and the way the typing was integrated into the gameplay – harder enemies had longer words, for instance – was very well done. A bonkers mini-masterpiece.
Mario and Sonic at the Olympic Games Tokyo 2020 (Switch, 2019): the very fact that erstwhile cultural enemies Mario and Sonic would ever share a game at all is the stuff of addled mid-nineties fever dreams; like Downey’s Tony Stark sharing the screen with Bale’s Batman (or Affleck’s Batman, who the hell cares at this point). The main thing is, it’s still crazy to think about it, even if it’s just entirely ordinary for my kids, sitting their unaware of the Great Console Wars of the 1990s. Anyway, divorced of all that pan-universal gladhanding, the games are good fun, adapting the various Olympic sports with charm, making them easy-to-understand party games, often with motion control for the benefit of the youngs and the olds. I don’t remember playing earlier games extensively, but the soft-RPG trappings of the latest iteration are enjoyable, especially the retro-themed events and graphics. Earns a spot in my Top Ten for its historic nature, but it’s also thoroughly enjoyable in its own right.
Hey, wouldn’t it be funny if all those crazy internet rumours were actually true, and Microsoft did announce it was buying Sega this E3? This really would feel like a very timely and in some ways prescient list.
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I had the pleasure of watching this little cinematic gem the other night. In the age of Covid, it’s been weird trying to find movies that would have readily been available months ago. I’m going to approach this with the least amount of bias possible, but upfront, I’ve hated how Fox has handled the X-franchise and very much look forward to Marvel managing the property again. This movie also includes one of my favorite X-men and so this movie already has an uphill battle.
The good first, the movie does more with less when it comes to just about every other X film to date. It looks clean, special effects are fairly limited but the third act brawl at least looks cinematic as compared to the unbelievably goofy third act of X-men: Apocalypse. It also has some decent performances, specifically from Maisie Williams (Rahne) and Anya Taylor-Joy (Illyana). The entire cast suffers from a script that has literally no substance. Blu Hunt plays Native American, Danielle Moonstar, who wakes from a terrible dream in the opening of the film and finds her father dragging her from their home as the wind roars and unexplained explosions fill the choppy editing. Her father stuffs her in a hollowed-out tree, telling her not to stay put shortly before he is killed and Dani passes out.
She wakes in a medical facility of some kind, bound to her bed, locked in a room, and overseen by the seemingly kind and caring Dr. Reyes (Alice Braga). From there we learn this is a facility that attempts to assist mutants who are coming into their powers for the first time before they’re moved to “somewhere” else. She’s introduced to the other patients/inmates, the bitchy Illyana, the soft-spoken Rahne, the drawl Sam (Charlie Heaton), and the rich kid Roberto (Henry Zaga). They’re all being kept her to better understand their powers in preparation for moving on and into the general populace without being a threat to themselves, other mutants, and humanity in general.
But here is where things fall apart thematically and contradiction after contradiction start to play out plotwise. The facility is oddly analog when it comes to its security. Basic locks, no “anti-mutant power” collars, and an overall dilapidated building make up the grounds the kids find themselves in. The only real security appears to be Dr. Reyes who, spoilers, is a mutant herself and her power alone seems to keep these young, scared, anti-establishment, egotistical young people in check. When Illyana snidely jokes, “I’m the most powerful mutant here,” she’s not wrong and it cripples the entire film. Nothing demonstrated in this movie accounts for how Illyana is prevented from doing absolutely anything she wants. And so the movie swings lazily back and forth between a semi “thriller” and an absent and hollow John Hughes film as it plods along to its semi satisfactory conclusion.
For people who haven’t spent their lives reading the exploits of these characters, this will a perfectly passable, if pandering, film. It has moments that shine here and there but anyone who knows even the general backstories of these characters will be frustrated. My husband was bothered to no end that one of his favorite characters, Celia Reyes, is not only a villain but a complete 180 from her comic book origins in her personality and almost paladin like nature from the comics. The movie also, for no apparent reason, just has liberties with the source material. Lockheed, for example, appears in this film attached to a character that has no reason to have Lockheed at their side unless you dig deep into their origin. Sam Guthrie’s personal trauma is at complete odds with his families important history to the X-men, and worse yet not only is his power only shown to full visual effect once in the entire film, but it’s also done so as a laugh, and then it doesn’t even stick to the basic premise of the power. Roberto has exactly no character development in the film and is reduced to “I have intimacy problems because I catch on fire when I get excited”, yet for a long time Roberto was often the heart and soul of The New Mutants alongside Dani.
Anyway, I’m nerding out now. Watch it, don’t watch it, whatever. Compared to things like the third X-men film, and Apocalypse, it’s actually a decent film. Still, it’s the final nail in Fox’s poorly managed governing of the X-license after the first X-men movie sort of birthed the new comic book movie genre. This film had extensive production issues, delayed again and again, and even in the end they still managed to misspell The New Mutant’s creator’s name, Bob McLeod, in the running credits. It just goes to show that the intention was never to adapt some of the wonderful stories that were told through the years in the books, it was just Fox trying to figure out how they could keep the X-license in their pocket.
6/10
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The Weekend Warrior Is Back!!! Raya and the Last Dragon, Chaos Walking and More
Welcome back to the Weekend Warrior!
This is probably going to be a little different from any of my previous columns, because New York City theaters reopen on Friday, and I swore that once they do, I would be writing about box office again. But this will also essentially be a previous column, so it will include reviews, it will include festivals and repertory series, and basically, whatever the hell I want to write about.
But let’s be realistic here. While there are a lot of movie theaters in New York City, not all of them will open, and they’ll all still have a capacity ceiling at 25% or 50 people in the larger theaters. Many of the larger multiplexes like AMC will be able to show films on two, three or more screenings to be able to make up for the limited capacity, but smaller theaters and those who have been doing well with the virtual cinema may remain closed. I know that the Angelika will be reopening to show some of the indies that haven’t had a theatrical release in NYC yet like Minari, and the IFC Center is reopening but with insanely strict protocols. (Don’t you DARE take off your mask even if you’re watching a three-hour movie! The good news is that they’re showing a lot of great movies on reopening including a comedy series that includes a number of Lynn Shelton movies.)
There’s also the issue of New Yorkers who are still petrified of being out in public, even those who have already been vaccinated and are possibly spending time in congregate settings that are just as likely to cause COVID spread than movie theaters. (I’m not gonna go on a rant about the egotistical and elitist film critics and journalists who have been ranting about movie theaters reopening for the past six months – for some reason, they think they’re as important as essential workers. Guess what, NAME REDACTED, you’re not.)
The big release of the weekend is the Disney animated movie RAYA AND THE LAST DRAGON, which will hit probably around 2,400 theaters on Friday as well as be available for a premium on Disney+. I honestly don’t know a ton about this premium streaming release, but this is the second one after last year’s Mulan, which came out (better sit down for this) six months ago!
This magical fantasy adventure centers around Raya (a teen girl voiced by Kelly Marie Tran), who is trying to save her world that has been relegated to dust by the destruction of a valuable magical gem that contains destructive spirits imprisoned there by the legendary dragons. When Raya finds the last dragon, Sihsu (voiced by Awkwafina), the two of them must travel across the land collecting the separated pieces of the gem to reassemble them and restore their world. Raya is thwarted along the way by her arch-nemesis Namaari (Gemma Chan) who wants to reunite the gem pieces to help her own city of Fang.
(Raya is preceded by the animated short Us Again, which is a nice wordless short about a cranky old man who reflects back on his younger days dancing with his wife. It’s okay, nothing particularly memorable.)
Raya and the Last Dragon, on the other hand, is pretty wonderful, a mix of action, adventure, magic and humor, directed by Don Hall (Big Hero Six) and Carlos Lopez Estrada (Blindspotting) in a way that blends those disparate elements in fun ways. I’ll freely admit that I was a little worried that Akwafina’s schtick was going to annoy me, but after a while her wise-cracking dragon grows on you. In fact there are actually so many other funny characters to add to the laughs that the more brought in the mix on Raya and Sihsu’s journey, the more enjoyable the film gets.
One of the reasons the film works as well as it does is that unlike last year’s Onward, it wasn’t just the two characters and what they had to offer but how their situation changes as it goes along and they visit different cities. I was pretty surprised by how well the film keeps you entertained and invested in the journey.
I also absolutely loved the score by Thomas Newton Howard, which may be even better than his score for News of the World, which I honestly think he’ll get another Oscar nomination for. This is a film that explores all sorts of emotions as well as its Southeast Asian myths, so I feel that I was always going to be a complete and total patsy for this movie since it combines a lot of things I like such as fantasy and Asian mythology. In that sense, Raya is also a nice companion to the recent Mulan, which made my Top 10 last year, but sadly never even got a nominal theatrical release.
So let’s talk about box office, something I haven’t done in almost a year. Last weekend, Warner Bros’ Tom and Jerry had a fairly spectacular opening of $13.7 million. Raya is the first new wide release Disney movie since Pixar’s Onward literally a year ago. That ended up opening to $39 million in 4,310 theaters but only grossed $61.5 million domestic after its legs were cut short by COVID one week later. Raya will likely open in about 2,500 theaters by comparison and that’s with limited capacity for safety, but it should fare decently against the second weekend of Tom & Jerry, and I could easily see it bringing in $15 million or even as much as $18 million, but again, we’re in the baby steps part of the reopening, and things are going to start slowly and keep building as the vaccine continues rolling out.
Being released theatrically by Lionsgate this Friday is CHAOS WALKING, the adaptation of Patrick Ness’ future-set young adult novel The Knife of Never Letting Go, which stars Tom Holland and Daisy Ridley. Holland plays Todd Hewitt, a young man living in a world with no women where men’s thoughts can be perceived by everyone around them. One day, he discovers a mysterious girl named Viola (Ridley), when she crash lands on this planet but her very presence puts Viola’s life in danger, so Todd agrees to accompany her to find her own people.
Yeah, where do I even begin with the latest film from director Doug Liman that was probably filmed two or three years ago and was being delayed even before COVID came along? That’s already a bad sign, but when see how “The Noise,” the way that we hear all of characters’ thinking emerges, it immediately feels like it’s gonna be a problem. Sure enough, it’s such an awkward plot device to watch smoke billowing from the heads of the various characters as we hear their thoughts that it takes most of the movie to get used to it, and yet, it’s still so comically inept a concept that you can’t help but laugh when Holland continually rants, “My Name is Todd Hewitt,” over and over to keep Ridley’s Viola to hear his pubescent teen boy thoughts on experiencing his first girl.
The thing is that the scenes with just Holland and Ridley aren’t bad, but when you have a movie with actors like Mads Mikkelsen, David Oyelowo, Demian Bechir and Cynthia Erivo, it’s disappointing that they can’t elevate the movie above anything other than the most obvious sci-fi (and Western) pastiches. Mikkelsen is the town mayor who is so obviously another bad guy, that he doesn’t bother to put too much into his performance cause we’ve seen him do it so many times before.
Liman is more than a competent filmmaker but he clearly is unaware of how watching clouds pool around the heads of characters as we hear and see their thoughts become material, and even the introduction of the particularly silly-looking aliens – called, get this, the “Spackle” -- makes you forget that this is a sci-fi film from the director of Edge of Tomorrow (or whatever it ended up being called). It’s not even particularly surprising when we find out what really happened to the women in Todd’s community.
I have a feeling that the problems within Chaos Walking come straight from the Patrick Ness source material and the fact that he decided to adapt it himself may have made him tone-deaf to how hard it is to make the film’s central premise work without eliciting guffaws even from the most dedicated or devout fans.
This is also opening in IMAX theaters this weekend, and when it comes to New York, that might be the ideal way to see it (if you so choose) since it’s generally bigger theaters with a maximum of fifty people. Honestly, I don’t think Chaos Walking will make more than $5 million this weekend even in what should be over 2,000 theaters and with the presumed star power of Holland and Ripley from their franchise work. This could be seen as counter-programming from the animated movie, although any teens ready to go back to the movies might stick with Raya as well. Honestly, how this didn’t end up getting dumped to streaming compared to some of this weekend’s better movies is beyond me.
Offering a bit of indie counterprogramming for the two (relatively) big studio movies is Eddie Huang’s BOOGIE, the directorial debut of the Fresh Off the Boat producer, being released by Focus Features into who knows how many theaters? (1,000 or less, I’d Imagine.) It’s a coming-of-age movie starring Taylor Takahashi as Alfred “Boogie” Chin, a Queens high school basketball ace who dreams of one day playing in the NBA but whose temper gets him in trouble with the scouts for college where he’s hoping to get a scholarship.
I was kind of looking forward to this one, because I generally enjoy Fresh Off the Boat, and I’m interested in what stories Huang has to offer as a filmmaker. The film has its merits but it’s not necessarily Takahashi, who isn’t strong enough to really keep the viewer’s interest.
On the other hand, Huang was wise to cast the amazing Taylour Paige (Ma Rainey’s Black Bottom) as Boogie’s love interest and even better than both is Pamelyn Chee as Boogie’s “Tiger Mom” mother who is sugary sweet when it comes to wooing possible recruiters but also is a complete nightmare to his ex-con father (Perry Yung).
Thinking back on the movie, I definitely didn’t hate it as there were character relations and dynamics I enjoyed, but not all of it clicked with me, and it’s hard to imagine this one connecting with audiences as well as some of the other movies out this week, unless you’re into college hoops, which I am not.
As far as box office, I’m not sure this will be in more than 1,250 theaters (if even that) and even if it plays in New York City (where it would normally find its biggest audience), I just don’t think there’s much awareness for the movie out there. In fact, I see it only playing in one movie theaters in NYC, and that’s way up in Harlem, presumably hoping to get the street ball fans, but I’m not so sure too many up there will be interested in an Asian-American story, so honestly, I don’t think this will make more than $500,000 or $600,000 tops.
Besides the reopening of movie theaters, the other big excitement this week is the launch of Paramount+, the relaunch, spin-off, rebranding of CBS All Access that I had also been considering checking out. It will launch on Thursday, March 4, with the animated family movie THE SPONGEBOB MOVIE: SPONGE ON THE RUN, which was supposed to be released by Paramount Pictures last year and did get a bit of a theatrical release in Canada while theaters were open there last year. This one involves SpongeBob and his buddy Patrick trying to retrieve SpongeBob’s beloved pet snail Gary, who has gone missing.
I generally enjoyed the first to SpongeBob movies, even though I never watched the show, and the regular creators and voice actors always seem to step up their game in terms of the wackiness whenever they’re given a chance to bring the lunacy to the big screen. In this case, it comes in the form of some of the guests including Snoop Dog and Danny Trejo in an odd Western section complete with musical number or Keanu Reeves introduced in the same section as a tumbleweed named Sage. (Oddly, this also features Awkwafina providing the voice of a robot, and I kind of liked her in more of a subdued role like this.) Although SpongeBob and his friends are CG animated, the movie doesn’t try too hard to integrate the live action in as fluid a way as last week’s Tom and Jerry – live actors just kind of show up – but it’s still pretty darn entertaining to watch another movie in which everyone involved, including director Tim Hill (who shockingly directed last year’s awful The War with Grandpa!), just going about making the movie as crazy and wacky as possible, something that should appeal to kids and… THC-laced adults (preferably not those watching with kids) … to get an overall enjoyable experience. Maybe it’s no surprise that I was particularly tickled with SpongeBob and Patrick’s adventures in Las Vegas.
Along with that, the streamer will have a new animated series called KAMP KORAL: SPONGEBOB’S UNDER YEARS, which is a CG-animated series that focuses on SpongeBob and friends when they were younger, which actually is one of the funnier bits in the movie as well.
There’s a lot of great stuff coming to Paramount+ that should make it a real player in the streaming world, and that includes all of the Paramount movies that will be streaming on it, both those that are getting a theatrical release this year and the studio’s absolutely vast library over the past 100 or so years.
And that’s not all! This weekend also sees the release of the sequel thirty years in the making, COMING 2 AMERICA, which will launch on Amazon Prime Video on Friday (after being sold to the streamer by Paramount, oddly), so yeah, there’s plenty of options to keep people home this weekend even with theaters reopening.
Eddie Murphy and Arsenio Hall are back as Prince (now King) Akeem of Zamunda and his trusty aide Semmi, and in fact, almost every character and actor from the movie has returned, as the duo return to America to find Akeem’s illegitimate son Lavelle (Jermayne Fowler) in queens, hoping to teach him the Zamundan way so he can take over as King after him. Unfortunately, Lavelle is joined in Zamunda with his family which includes mother Leslie Jones and uncle Tracy Jordan.
Unfortunately, reviews are embargoed until Thursday, so I’m not sure I’ll get to review this one, but I did like the movie, more than I thought because my rewatch of the original 1989 movie led me to believe there was a good reason I hadn’t watched it in over thirty years. The sequel offers a lot of originality and humor in the forms of Leslie Jones and Tracy Jordan, but that’s all I’ll say about it for now.
Incidentally, you can check out an interview I did with director Craig Brewer over at Below the Line AND I also talked to the film’s make-up team, and after you see the movie, you’ll understand why I’m holding it until after people have seen the movie.
Another movie that would probably have gotten a theatrical release but now will be seen on Hulu is the Joe Carnahan-directed BOSS LEVEL, reteaming him with long-time collaborator Frank Grillo as a man who cannot die, because he’s living in a single day that’s being repeated over and over as he takes on a series of assassins sent to kill him.
This as a really fun action-comedy that never lets down in terms of either half of that genre, and it’s kinda groovy to see Mel Gibson playing a fairly key role since he became the master of that action genre with the Lethal Weapon movies. But this really is Frank Grillo’s show as a leading man, and while I can understand some thinking him not having enough charisma for that sort of thing, I respectfully disagree.
We get into this high-concept premise pretty quickly as we watch his character, Roy Pulver, take on a string of assassins for his over 100th attempt to do so, and as per the title, it is a lot like a video game where Roy has to defeat all of the assassins on his way to the big boss, Gibson’s The Colonel. Apparently, Roy’s wife Gemma (Naomi Watts) has been killed by the Colonel or his thug (Will Sasso) so Roy is now on a quest for revenge. But first he has to survive the onslaught of killers, all of whom he’s given cute nicknames.
Easily my favorite of the killers is Selina Lo’s Guan Yin, a feisty swordswoman who proves to be the most formidable opponent for Roy. I won’t say how he bests her, but it does involve Michelle Yeoh, who has such a strange nothing appearance in one section of the movie, you wonder what she’s doing there. In fact, the movie does hit a slight lull after the initial concept is introduced, but it
Listen, I’ve long been a fan of Carnahan’s dark sense of humor and to some, it might seem mini-spirited, to me it harks back to one of my favorite movies he directed, Smokin’ Aces, a similar movie with a crazy ensemble cast, though maybe a slightly smaller budget. Still, Carnahan is a terrific action director, which makes this one of the stronger action movies in a while, and he finds a way to take a fairly simple premise and make it bigger in that Roy’s dilemma turns into something where he has to save the world, but also something more emotional and personal as he tries to bond with his son before said world ends. I guess in many ways, it’s hard to put into words what makes Boss Level so special, but I can only hope that Ryan Reynold’s Free Guy is as good as this after being delayed so many times, because this will be a tough act to follow for sure.
Over at the Metrograph, still closed physically unfortunately, they’re doing a series this week called “David Fincher/Kirk Baxter” which looks at the relationship between the director and his frequent editor, showing a series of movies over the course of the week: The Curious Case of Benjamin Button, The Social Network
The Metrograph has a lot of movies as part of its digital membership (just $5 a month) including Chloé Zhao’s very first film, Songs My Brother Taught Me, which was available to members through Wednesday night. (Sorry, I tweeted about it multiple times if you missed it.)
This week also launches the 26th annual “Rendezvous with French Cinema” up at Film at Lincoln Center, which was actually one of the LAST events to happen up there LAST year. This year, they’re keeping things safe by holding it virtually. It runs from March 4 through March 14, kicking off on Thursday with Sébastien Lifshitz’s Little Girl, which will be released by Music Box Films in the Fall. There’s a lot of fairly recent French films with an all-access pass available to rent all 18 films for $165. Unfortunately, I haven’t seen anything, so can’t really recommend anything but I’ll probably be checking out the free talk “How Music Makes the Film” on Monday, March 8.
Margaret Qualley (Once Upon a Time … in Hollywood) and Sigourney Weaver star in Philippe Falardeau’s MY SALINGER YEAR (IFC Films), based on Joanna Rakoff’s book. Set in New York of the ‘90s, Qualley plays Joanna, a grad school student who dreams of becoming a writer who gets hired as an assistant to literary agent Margaret (Weaver), whose biggest client is J.D. Salinger. Although Joanna’s role is more of a glorified secretary, she gets to go through Salinger’s fan mail from around the world, and she decides to start answering some of the letters to the author, an experience that helps her find her writers’ voice.
I wasn’t sure if this movie would be for me, but I find Qualley to be quite delightful, and this was a light film with a comedic tone from the Canadian filmmaker of the boxing movie, Chuck, and the Oscar-nominated Monsieur Lazhar. I enjoyed its look at the New York literary world of the 1990s, and it kept me quite invested even if I’m not particularly invested in Salinger’s work or an obsessive with The Catcher in the Rye as many are. Weaver is also fantastic as Joanna’s boss – think of a lighter version of Meryl Streep in The Devil Wears Prada – and also enjoyed the tentative relationship between Joanna and her writer boyfriend Don, played by Douglas Booth.
Basically, Falardeau has created another generally wonderful and crowd-pleasing movie that sadly missed its opportunity at a festival run to build an audience after debuting at the Berlinale almost exactly a year ago. Presumably, this will open at the reopened IFC Center this weekend. (In fact, IFC Center released its reopening schedule and it’s a pretty cool mix of IFC Films movies from the past as well as some of the Netflix movies that weren’t released in NYC previously.)
Okay, let’s get to some other releases from the week, beginning with Ivan Kavanagh’s SON (RLJEfilms/Shudder), the latest film from the Irish director of The Canal, a fantastic horror film that premiered at the Tribeca Film Festival about seven years back. In this one, Andi Matichak from Halloween plays a single mother whose son David (Luke David Blumm) suffers from all sorts of maladies but when she starts getting closer to a local detective (Emile Hirsch), he discovers that there’s a lot more to her past and to her son’s ailments.
Honestly, I do not want to say too much about the plot, because there are so many shocking surprises in the movie once you think you know where it’s going, although I will say that it has connections to films like The Lodge and shows like Servant, but it also does a good job fucking with the viewer’s head, so you never know what’s really happening and what might be in the characters’ heads.
I will say that the movie is very dark and quite disturbing with lots of gruesome gory sequences, but if you’re a fan of smart horror, you’ll want to check out Son. (I’ll have an interview with Kavanagh over at Below the Line next week.)
Sony Classics is finally releasing Michael Dweck and Gregory Kershaw’s doc THE TRUFFLE HUNTERS (Sony Classics), which has been playing on the virtual festival circuit all the way back to Sundance last year, so we’ll see how many people are left to see it. It’s set in the forests of Piedmont, Italy where a handful of 70-to-80-year-old men are on the hunt for the rare white Alba truffle, which has resisted all modern science to be cultivated.
For whatever reason, I procrastinated on watching this movie for most of last year, maybe because I’m not that big a fan of cinema verité docs, but this is infinitely entertaining between the various men featured – including a lot of real characters in there – and how the movie shows their close bond with their truffle-sniffing dogs. This is a genuinely enjoyable movie that I feel can appeal to a wide range of viewers, although be aware that is in Italian, so maybe one should consider that even with the cute dogs, this should probably be watched by teen or older rather than small kids. (I don’t remember anything particularly racy, but the movie is Rated PG-13.)
Staying in the dog realm, Magnolia Pictures is releasing Elizabeth Lo’s documentary STRAY on Friday, which documents the life of Zeytin, a stray dog living on the streets of Istanbul, and some of his dog frenemies. Actually, this was a pretty wonderful film that I quite enjoyed, although there were a few dog fight sequences that disturbed me a little bit. But it’s a great look at Turkey through the eyes of some of the canines on the street, how they interact with the humans around them. Essentially, Stray is the dog version of Kedi, but I’ve seen other similar docs like this including Los Reyes – this one is just as strong as either of those movies, the images of all the beautiful dogs accompanied by gorgeous string music by Ali Helnwein that helps you understand the dogs’ complex emotions. Seriously, if you like dogs, you can definitely do worse than the previous two movies mentioned. Stray is available via Virtual Cinema, including that of the Film Forum.
Filmmaker and EDM artist Quentin Dupieux (Rubber) is back with his latest, KEEP AN EYE OUT (Dekanalog), starring Belgian comedian Benoît Poelvoorde as police officer, Commissaire Buran, investigating a guy (Grégoire Ludig) who has discovered a dead body in a puddle of blood outside his apartment building. The prime suspect is then left alone with a one-eyed rookie, and if you’ve seen any of Dupieux’s other films, you’ll probably know to expect the unexpected as things get crazier and crazier. (I seem to remember seeing this last year at some festival, maybe FantasticFest, but I’ll have to watch again before remembering if this was one of Dupieux’s movies that I liked.) This will be available in select theaters and also in virtual cinema this Friday. (Oddly Dupieux’s last movie, Deerskin, debuted at last year’s “Rendezvous with French Cinema” right before theaters shut down for a year, and I don’t want to be superstitious, but yeah, I’m worried.)
Barnaby Thompson’s Ireland-set crime thriller PIXIE (Saban/Paramount) stars Olivia Cooke (Sound of Metal) and Alec Baldwin with Cooke playing Pixie Hardy, a young woman who wants to avenge her mother’s death by pulling off a heist that will allow her to leave her small town. The crime goes wrong, and she’s forced to team up with a group of misfits including Baldwin’s Father McGrath.
Bradley Parker’s action-thriller THE DEVIL BELOW (Vertical) deals with a team of researchers who are investigating a series of underground coal mines in Appalachian country that have been on fire for decades where they discover a mystery. It’s getting a combined theatrical, VOD and digital release Friday.
Phil Sheerin’s directorial debut THE WINTER LAKE stars Emma Mackey (Sex Education) as Holly, a young woman with a secret that’s uncovered by her unstable neighbor Tom (Anson Boon from Blackbird) and the two of them are pulled into a confrontation with her father, who wants to keep the family secret buried. This will be in select theaters on Friday, On Demand on Tuesday, March 9 and then on DVD March 23.
Dylan McCormick’s SOMETIME OTHER THAN NOW (Gravitas Ventures) stars Donal Logue and Kate Walsh, Logue playing Sam who is stranded in a small New England town after his motorcycle crashes into the ocean seeking refuge at a run-down motel run by Walsh’s Kate, a similarly run-down and lost soul. When Sam learns that his estranged daughter Audrey, who he hasn’t seen in 25 years, lives in the town, he starts to learn more about why he ended up there.
Jacob Johnston’s DREAMCATCHER (Samuel Goldwyn) stars Travis Burns as Dylan aka DJ Dreamcatcher who meets up with two estranged sisters at the underground music film festival, Cataclysm, where they become entrenched in 48 hours of violence and mayhem after a drug-fueled event. Sounds delightful.
Some of the other VOD stuff hitting the ‘net this week include: 400 Bullets (Shout! Studios), Sophie Jones(Oscilloscope), Dementer (Dark Star PIctures), Black Holes: The Edge of All We Know (Giant Pictures)
That’s it for this week. Next week, theaters hopefully will remain open, and we’ll have some new movies to write about.
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Reviewcaps: Mega Man: Fully Charged (BOOM!) #1
After 5 long years the Blue Bomber returns to comics and to the Fully Charged Universe! Things get a lot more grim as Aki grapples with a new robot army under actual robots, his buried past, and the fact Mega Mini is still around for some reason. Cracked skulls and dead cells under the cut.
So i’m a huge mega man fan. I haven’t really talked about video games here because this is my first video game adaptation, but yeah, I love em and Capcom’s vast and awesome franchise of robots and humanoids in blue, and in one case red, is one of my faviorites. From children blowing up tons of robots from a balding man who dosen’t get the hint already, to the pacifist soldier forced to fight in a war against robot whales, buffalo, mammoths, and other bizzare robot animals, to his best friend who has amnesia for some reason fighting more robot animals because capcom ran out, to his human sucessors wearing him like a hat, to some guy who turns out to be a war machine I haven’t played yet because I haven’t gotten the chance to and is the only part of the franchise I haven’t, to another universe where he’s the ai versoin of a dead child whose now a teenager mentally, to that ai’s sucessor a shy child whose dad was kidnapped by a space monster and fuses reguarly with a much cooler space monster. What i’m saying Is I deeply love this franchise, this franchise is complicated iwth all the branches, and it’s also full of lovely nonsense.
So naturally with that many versions and a decades long history Mega Man’s had a healthy life in one of my other faviorite meddieums: Comics. Over in his home country of Japan Mega Man’s had tons of Manga: The biggest and one of the few to make it here is Mega Man Megamix, a bunch of stories that, after the first two adapted the first two games in their own rough way, took place after each of the various games, and is pretty damn good. Others off the top of my head include a Mega Man x adaptation where X dates a mermaid, a weird mega man zero adaptation, and a longrunning adaptation of Mega Man Battle Network, all ones I need to read.
Even Brazil had a Mega Man Manga... which I need to cover too.. less because it’s actually good or notable, and more because it’s BATSHIT INSANE, and you can read about it here. But the cliffs notes: Roll is an adult woman who goes around naked half hte time and is the most importnat character, X is master roshi with all the restraint and panty snatching that implies, and ther’es a character that one writer tried to have kill everyone and take over the comic.. yes really. I go most of this .l from that page but it’s documented on various wikis that this did actually happen. Just.. why. All of it.
Meanwhile in the US.. we didn’t get that many. No nintendo power adaptations despite being a huge franchise, no horrible malibu comics like street fighter got. There was one attempt by Dreamwave comics in the early 2000′s a series that only lasted 5 issues, and had mega man trying to go to school and some intresting if loose takes ont he franchise.. but the company bottomed out due to horirble mismanagment soon after and mega man sat ont he shelf for a while until the early 2010′s.
At a time when Capcom had given up on the franchise, which has thankfully changed dramatically with the release of 11 and the various mega collections, they still gave the liscence to Archie comics, who, wanting some more of that sweet money they were getting off of sonic, gladly took the lisence and gave it to Sonic Scribe and easily the best one the comic had during it’s long run, Ian Flynn, who set about adapting mega man from day 1, while incorperating nods and call forwards to the various other versions of the blue bomber, and adding his own nice touches. What i’ve read is really damn good and it’s a shame it got cut off right before the adaptation for mega man 4. I’m only being so brief as .. I intend to cover it like i’ve been saying. I love the character, Flynn’s comic was one of the best versions of him bar none, and I could use more comics content on here too. It’s a win win, smiles all around.
But yeah sadly Archie lost intrest in doing non-Archie stuff, with the Archie Horror Line proving a sucess and a reboot on the horizon. While I do LOVE Archie Comics, this edotiral decision still leaves a bad taste in my mouth and left fans without any mega man till 11 came out and any comics till this year, when the rights apparently lapsed and Boom! Studios, home of such great comics as the mighty morphing power rangers ongoing and JOhn Allison’s wonderful Giant Days, swept it up. Hopefully Boom! will reprint the archie comics eventually, but until then they decided to do a softish reboot of another version of the franchise, another one that like Archie had been given a raw deal.. but unlike Archie had issues: Mega Man; Fully Charged
While most of you probably know this as a refrsher Mega Man: Fully Charged was a cartoon from a few years back, a CGI adatpation of the games in an attempt to get in on that market by Ben 10 and Generator Rex maestro’s Man of Action. Like the Dreamwave comics it followed Mega Man, now Aki LIght as he went to school, did school stuff, and also fought rouge robots after school with secret powers he unlocked before the pilot and were never elaborated on in show.
The show kept Dr. Light, Mega Man’s creator and dad, and his dog Rush who while at first looking nothing like the games was later upgraded to resemble his game counterpart more from what i’ve heard and what’s present in this comic. Replacing Mega’s sister Roll, as his real name was Rock because the Mega Man staff loved musical puns, was Suna.. whos basically the same character but human and with an entirely diffrent design.
The show also, for whatever fucking reason, added... Mega Mini.. a tiny robot with a brooklyn accent who lived inside Aki, Mega Man’s regular name in this series which i’m fine with as while I do lik ehim going by Rock, I get that’s not really a name. Mini also manages his powers, makes stupid jokes and makes me pray for death but death won’t come. As you can tell I hate the little bugger from the handful of episodes i’ve watched. Rounding out our main heroes is Aki’s best friend Bert Wily, whose likely related to the canon wily and is your standard dorky best friend, but his roll as an inventor does come in handy since Mega hasn’t told his dad he’s a superhero, though it’s revealed in the end that he knows.. I did do my homework, even if i’ve only seen a handful of the series. More on that in a minute.
Opposing Mega Man were various robots from the games, adapted with varying degrees of design, from the good.
To the okay if a bit weird.
To the how the fuck is this airman. This is airman
Really good basic design. This is what fully charged calls airman,
Why.. why not just make him Wind Man. He looks more like Wind Man.. why did ... I can bitch about this later when I cover the series, which, yes AGAIN I intend to. BUt seriously he has an awesome looking fan for a face. How do you screw that up.
Behind the robot masters was Sgt. Night. See in a nice twist, and one of the things I like about the series, the world of Fully Charaged already had the kind of robot on human war that would plauge the main mega man timeline for centuries in the backstory, with LIght and Night being vetrans. Night being a racisit moron, wanted to keep robots apart and set up a false flag operation do do so as Commander Night. He however.. wasn’t a compelling vilian and apparnetly dosen’t really get better, not having any depth to his operations or actoins and his basic plan turns out to be, thank you research, to wipe all robots minds to be subservient.. he’s just.. bland compared to wily who while not complex in his motives, he just wants to take over the world, still has style and in some cases,real thought to his plans. Sure the vast majority are “blame it on someone else” but in a LOT of those cases, there’s still thorught and effort put into who he’s blaming to take doubt away from him. IN universe at least.
Helping night, is Namagem... yes Mega Man..spelled backwards and this series protoman, but hte character suprisingly DOES sound intresting... he just has one of the worst names in human history. Like my god, in god we trust why not just use proto man. the Character is basically proto man, with the interesting backstory of night kidnapping him, and apparently the series gets loads better once he arrives, so i’m not going to be too hard on the name, as the writers were likely stuck with it.
But as i’ve made apparent.. I haven’t watched much of the series. I do want to watch it all and i’m aware the second half is much better, but when trying to binge watch it at a friends house I only got about halfway through season 1, and then just forgot to keep going. And the series does have good pieces: a compelling background of a brutal war, mysteries to unlock, and a steady supply of new villians via the games long history and the series own original, and honestly intresting sounding and looking, robot masters... but it stapled all this to a “cocky hero fights vilians” every week setup we’ve seen a million times and didn’t grab me, but the intresting worldbuildnig and original bits do have me wanting to give it another try so look forward to that.
And with all the intresting bits i was truly invested to see a comic make more out of this part of the franchise,a nd was utterly excited, as it could be what the series could’ve been with less hampering by the various parties involved, as fully charged felt like it had a lot of executive madates slapped on. So free of those and free to be whatever it wants with Joe Kelly advising, what has fully charged become? let’s take a look.
We Open 6 months after the series with the comic helpfully catching us via news broadcast.. and the art being moody with washed out colors the tone having done a 180. Seriously it is kind of weird for this unvierse to go from early generator rex, a dark backstory with a bizzarely cheery tone to full on Blade Runner or to put it in mega man terms, The Megas. Seriously the breif bit of silicon city we see , the constant rain as a mysteroius figure whose revealed at the end of the next page to be Namagem.. I expect that a pretty hologram in a raincoat is going to pop up next to him any moment... what I can pick which blade runner I want to refrence. Shoo.
Anyways a broadcast debate between a human reporter and her robot coanchor , ron roburgundy as I will call him, fills us in on exposition, while Mega Man himself narrators like this is a noir.. again i’m half expecting harrison ford to show up. Aki muses about how the city, HIS CITY, almost fell.. oh god is frank miller writing this? Are we going to get a middle schooler talking about how much he wants to make love to a city because no one wants that.
Anyways, we get expostion, both for anyone who hadn’t watched the series to give us the cliff notes, and to also catch up returning fans on what they missed. I like it, despite not having watched fully charged to the end, or known exactly what happened until research, this fills it in nicely: At the end of season 1, as I explained earlier Night was arrested, and is thankfully not a part of it nor is his foghorn leghorn attempt at a southren accent. However the remaning Robot Masters are still rioting and a new army of them has started a legit revolution, vandalizing the good guild, which still has that name for some reason despite the tone shift, who are about as compitent as the name implies. Here’s file footage of them fighting Pharoah Man.
Anyways Dr. Light is going to negotiate peace and as I mentoned earlier nams is watching with a glare on his face. And yeah I .. I can’t keep calling him Namagem. That name is just bad and whoever came up with it is one of the biggest morons in marketing history as is whoever decided to force the poor creative team to use it. However while he is Protoman in ways.. it just dosen’t fit. The two were made together in this unvierse, maybe we’ll see as this comic fills in the blanks, and furthermore he’s a bit of protoman and bass.. and since protobass sounds stupid, and blues dosen’t work without the theme naming.. i’m going with Breakman, protoman’s disgusie from 3. With the heavy scaring, broken past and general state of him it just.. fits and HOPEFULLY the comic will give him a full on rename. If it does i’ll go with that but for now I just want to keep from slamming my head into a keyboard every time I have to type out NAMAGEM... excuse me.
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That’s better. Okay so moving on from my new headache, we cut to the desert where the good guild, which is somehow even worse than Breakman’s actual name, are escorting light to a bunker in the desert, where the robots outside tell light to leave the good guild inside. Just as well he’d be better protected with a paper mache sword anda note telling them to go away.
Naturally, not long inside the robot masters leader forces light to bow and handcuffs him, before revealing himself.
Skull Man. Who looks really badass in this thought, the skulls themed scrap throne, his regal posture and his speeches about how he feels that the only way things will be right, and settled is not by the fragile peace silicon city has but by humans beneath his rather sizable boots. And honestly.. he was a good choice for the main robot antagonist: Skull Man’s always had a cool look to him and most versions of him have been pretty cool, and the Megas gave him one hell of a theme song. If you haven’t heard of htem the Megas are an indie rock band that do reworkings of the various songs from mega man games, at the time of this recording a full album for 2, two full albums for 3, an ep for 1, and scattered other songs since the second 3 album, with plans to do their next full album on mega man x. Each of the stage themes for the robot masters is from the prosepctive of one of them and are really damn good and I’d recommend thema nd skullman’s.. really fits him here. take a listen.
youtube
But yeah Skull Man feels like a good choice for a menacing revolutionary, as well as a former combat robot as he himself was apparently in the hard wars. He honestly reminds me a lot of more than meets the eye megatron in flashbacks.. just good stuff. But being in the wars, he’s naturally not too fond of repetant vetran light and plans to kill him as an example. Light however.. isn’t an idiot.. a good man who seeks to do his best, who came in good faith.. but just in case he put some sort of device under his skin and presses it, signaling his son to come save his ass. And thus he does come ...
And one of skullman’s minons mistakes him for a bomb.. which light clarifies i’ts a BLUE BOMBER. To skullman’s credit his response is to just order them to go full throttle showing no panic as Mega Man makes his entrance.
Light thanks him by.. asking what took him so long.. when his son, whose a middle schooler mind you, had to fight through a bunch of armed assholes to get in here most likely. Mini shows up to my annoyance.. though credit where it’s do his zinger of what took so long “some birds, a plane, some guy in a cape” is actually.. really funny. I question why they kept him at ALL, but hey, at least he’s less grating and isn’t around long.. more on that in a minute.
A really well drawn action scene insues.. while the expressions vary for this comic, I will give the fight scnee, I will give the artist credit for having fluid motion and nice pops of color, most things are kind of blendy into the background other than major character but the color pops where it should.. not exactly my style but it works okay. In a nice change of his character though, Aki offers to spare the various robots there of a fight and possible death, as while he already attacked them it was in self defense.
And while it is a 180 from the show.. it’s not only a welcome change as it’s closer to the games canon and a more intersting personality.. it also still works. Aki went through a LOT at the end of season 1: while he did win, he found out he had a brother, his dad knew who he was but was never honest with him about it and also likely knows where his power came from but hasn’t told him, and has had to deal with 6 months worth of rioting where he’s unsure what side he’s on, machine like he is or man like his family. He’s trying to find the right ballance; be the hero his city needs.. but be the man he needs to be, one who will spare his enemies and won’t fight unless he needs to, for the good fo everyone, His friends, his family, everyone in the city who deserves to sleep soundly. And he’s also starting to wonder, via narration of course, if he’s a hero.. or even a kid.. or a weapon> Which again while a bit of a shift from the series again makes sense: he’s a middle school aged boy who started this jsut fighting random assholes and some idiot racist who was transparently evil and had selfish goals.. now he’s fighting against a revolution who MIGHT have a point. While Silcion city seemd fine and equal.. there wer eplenty of idiot swilling to listen to night. As the real world has proven over the last few months, just because things have gotten better, dosen’t mean that things are 100% or that prejudice is just gone. He’s a 12 year old asked to take a stand in a messy conflict that lead to war in the past with his father offering no answers and growing colder. While I thought his angst was bit overblown on first reading the more I think about it the more it fits.
Anyways Mega makes short work of the skull squad after they refuse to back down, but while Mega Man’s ready to ghost.. Skull Man’s not done and drills into mega man’s head... and reveals something. Flashbacks.
But yeah, Skull Man’s either implanted or restored some memory of Aki fighting in the hard wars.. right alongside dr. light.. with a drill because science. DR. Light then gets REALLY badass, breaking out of the robot restraining him’s grip before fucking UPERCUTTING Skull Man.. jesus christ, Dr.Light clearly traded his empathy for miraclo pills holy balls.
Rush helps him escape and take Aki with him but skull man’s confident, he lost the battle but won Mega’s mind. On the way home Mega Man tells dr.light what he saw and isn’t sure if it’s the past the future or something else but Dr.Light assures him..
Even though his eyes give away he’s clearly hiding something. Also I haven’t mentioned it yet but Dr.Light looks like santa in this sisue, red shirt, blue pants, big white beard. Just.. why though. Just put him in a suit or something. Also Mini crawls out of Mega’s head and passes out due to the memory restoration.. a nice way to write him out while still giving it weight since while the audience is presumibly cheering his long overdue demise, he is aki’s friend.. why I have no idea but he is.
Back at the lighthouse, the light’s home and home base, which is admitely a really good alternate name for light labs and a better one in my opinon. Light brushes off Suna, telling her to go to bed and avoiding telling her anything. Yeahhh.. while it could be the pressure of the situation I really dont’ like dr.light’s characterization before. Fully Charged, outside of the whole secret identity thing which at least was expalined as Aki not knowing if his dad would let him continue as mega man if he knew, though it extended clearly past the point he was clearly supporting mega man’s actions so I dunno. But he was a compationste scientest, deeply ashamed of his past in the war and wanting to make peace, he was done really well and peformed well by gary chalk. Here? He’s a dick who clearly did something terrible in the past and treats his kids like crap. It’s okay to be suspcious of him given the flashback but he’s given us no reason to like him or want to hear his side eventually, and hopefully that changes.
Suna talks to Aki who tells her what happened and both side give out good arguments; Suna points out she reallyc an’t trust what some creepy asshole put in his head, as Skull Man could just want to brainwash him.. but Aki counters easily and quietly: How’s he supposed to know what’s real if his dad won’t tell him anything? He took months to tell Aki he knew about his alter ego, and even before his id came out avoided talking about the hard war, which hasn’t changed. He vows to find out though, and Suna naturally is helpful, pointing out there’s more people to ask and since she actually pays attention in school she knwos just who.. Dr. Wily. Yup he’s finally here. dun dun dun. We then close as Breakman watches and tells his brother he can’t stop what’s started. And we’re out.
Mega Final Thoughts:
This was a decent issue, doing a fair job of bringing in new readers, and the art was decent and matched the tone.. which If elt was a bit too bleak at times. Better than say a Zack Snyder film at least, but still a bit too close to that form of edgelord for my case. That said it opens up some intresting mysteries and has me at least willing to give it another shot next month and was a solid opener, which while not having the best charcterzation for dr light, vastly improved Aki and Suna’s while giving us a far more intersting villian in Skull Man. If this holds, we’ll see. But until then I plan to cover more mega man comics, as well as my continued weekly coverage of amphibia. Until I see you again, stay safe, wear a mask and later days
#aki light#suna light#dr light#thomas light#rush#skull man#the megas#dr wily#namagem#breakman#capcom#boom studios#comics#reviews#recaps#mega man#mega man fully charged#megaman#video games#video game adaptations
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My Top Performances of 2019, Part 2
Here is the second half of the list of my favorite film performances of 2019. I tried to be as objective as possible, but it’s also a result of personal preferences. As before, the order is unimportant.
Part 1 is here: https://ryanmeft.tumblr.com/post/190668845597/my-top-performances-of-2019-part-1?fbclid=IwAR3_d80vj0FbIVXqWaTV1heUlIDJJmL-JB_ZksaadO_oNRztnhBMICxzTd8
Zhao Tao in Ash is Purest White
She’s got everything you could want in a rusting former industrial town: a good boyfriend who has influence in the area’s small underworld, which gives her power, love and money all at once. In a blink it is all gone, and she finds herself adrift in the world, dealing with the resentments of people with no patience for what she has gone through. Tao is the key component of this crime drama, which is more drama than crime. She does not take the world in blazing force as a crime figure in a Scorsese film might do, but quietly and slowly accepts that the days of her power are past---and unlike the men around her, tries to adapt to, rather than battle, the inevitable.
Ana De Armas in Knives Out
Knives Out is in the grand, disappearing tradition of the character actor, albeit with the parts mostly played by superstars. Yet among a roster that includes Captain America as an irresponsible playboy and Michael Shannon as a professorial-looking semi-Nazi, De Armas’s humble heroine Marta stands out. Maybe it’s because Marta is humble but not naive or entirely innocent, and De Armas manages to capture both her cunning and her honesty without turning her into a doe-eyed victim. She’s the kind of character you want to become a Nancy Drew-esque mystery hero for adults, so you can revisit her later adventures.
Joaquin Phoenix in Joker
Some hated the movie, some loved it, but one thing it seems everyone could agree on is Phoenix’s performance. He’s credited as Arthur Fleck, not as Joker, and his handling of the character couldn’t be more different than any previous portrayal. Arthur is sad and lonely, not at all an enigma---his private life is laid out for us in great detail---and Phoenix portrays him as just sort of being blown through the world, bereft of any real agency. You can debate all day whether the character deserves to be portrayed in a sympathetic way, but you can’t say Phoenix doesn’t pull it off, making us root for this maladjusted, societally-forgotten misfit almost up ‘till the end.
Sienna Miller in American Woman
In a just world, Miller, hardly a household name, would have her face up on the stage Sunday night for playing this role, a drunken, hard-partying too-young mother and grandmother whose life begins to change when her daughter disappears. I say begins to, because this is not one of those magical stories of miraculous redemption. Debra does not become a good parent to her grandchild right away, and never becomes a great one. Instead, the film follows her throughout years of her life, during which, naturally, she must go on living as she mourns. Miller embodies each stage of this perfectly, never once allowing drama tropes to disturb her unflinching portrayal of an ordinary life.
Jeff Goldblum in The Mountain
What does the word “monster” conjure for you? Whatever traits it brings to mind, they are all present in Dr. Wallace Fiennes. He’s an egotistical, self-interested, callous man who performs lobotomies on mental patients in the 1950’s American heartland, the kind of person for whom his gruesome practice is not an outmoded method to be improved on by advancement, but an art form in itself, and his patients merely the canvas. This isn’t handled like a horror movie: Goldblum is not a mad scientist cackling away in a lab, but an urbane, cultured, engaging professional---which makes him all the more frightening.
Gugu Mbatha-Raw in Fast Color
Wonder Woman and Captain Marvel were, to a large extent, a marketing department’s ideal female superheroes: always flawless, gorgeous even when kicking ass, unable to make any very serious mistakes. Ruth is very much not that. She’s living wherever she can, dealing with the effects of past addictions, running from the government, scared of her own powers. She’s not just unlike any other woman in tights (without the tights), she’s unlike any mainstream superhero ever has, can or will be. Mbatha-Raw is one of our most underrated actresses, and she portrays Ruth in a way that allows us to both sympathize with her plight and support her as she grows stronger. The movie’s not getting a sequel, because the Hollywood franchise machine isn’t ready for imperfect superheroes yet, but it is getting a series, so at least we’re getting more of Ruth in some medium.
Renee Zellweger in Judy
I won’t pretend I knew much about Judy Garland going in, and frankly I’m not sure I understand her after seeing the movie---it was, in most respects, a fairly typical music biopic. Where it broke the mode is in Zellweger’s performance. I think it’s fair to say the once-household name has been largely forgotten by Hollywood in recent years; she never had the perfect starlet looks or the ideal girl-next-door adorableness that is the main standard on which women are judged. But she had the acting chops, and here she finally gets to prove it. Her Garland is twisted and gnarled inside and out by years of sexist treatment and the resulting substance abuse, but still a loving mother to her children and a great singer---and justifiably angry at the industry that used her up and spit her out.
Paul Walter Hauser in Richard Jewell
There was never a single chance of seeing the camera pan to Hauser during Sunday’s roll call of acting nominees---both he and the person he plays are about the polar opposite of Hollywood’s image of itself. And it must be said that while Jewell should not be forgotten, Eastwood’s movie, with its ginned-up anti-press narrative, maybe should be. But none of that is on Hauser, whose performance firmly proves that fat guys can be more than bumbling comedic relief or ineffective sidekicks in the movies. It matters that someone who looks like Jewell is portraying him, and that he does it so well that we can almost overlook the film’s other faults.
Honor Swinton Byrne in The Souvenir
This one was little-seen, and though it generated awards buzz initially, it’s already been largely forgotten. That’s too bad. Byrne’s Julie is a woman torn between her own ambitions and her love for a man who is---abusive? How to judge him? It’s a toxic relationship fueled by addiction on his part, but the movie is more about how you cope with a partner who is committed but not capable of commitment. Perhaps the most resonant aspect of Julie’s character is the way she holds out hope even when everyone tells her not to, even when she herself knows deep down that it is hopeless. You may find this weak, but I’ve never known a human being who wasn’t in some measure susceptible to it.
Jonathan Pryce and Anthony Hopkins in The Two Popes Everyone has strong feelings about the Catholic Church---it’s not a thing you go half-measures on. And every Catholic has strong feelings about the last two Popes---again, they aren’t the kind of personalities that inspire milquetoast reactions. What Pryce and Hopkins do in portraying Francis and Benedict, respectfully, is remind us that no matter how much they claim to be the chosen of God, these are after all two men---two men with flaws and opinions, whose own lives have shaped them every bit as much as the Bible or the church. When they are on screen together, you can imagine them in an odd couple buddy comedy, two aging road trippers tending to the flock. Lots of performances didn’t make my arbitrary 20-point cutoff. To be dead honest with you, it’s entirely possible that if you ask me in a year, I’ll have re-considered who is on the main list and who is in the honorable mentions; the idea that what I say now, when all these movies are fresh in my mind and affected by immediate emotional reaction, has to be my inviolate opinion for all time is silly.
That said, here are some excellent and noteworthy performances that didn’t quite make the cut.
Leonardo DiCaprio and Brad Pitt in Once Upon a Time in Hollywood
Kelvin Harrison, Jr. in Waves
Zack Gottsagen in The Peanut Butter Falcon
Isabela Moner in Dora and the Lost City of Gold
Alessandro Nivola in The Art of Self-Defense
Cate Blanchett in Where’d You Go, Bernadette?
More or less everyone in Little Women (I couldn’t decide, and thought more of the acting than the overall film)
Jodie Turner-Smith in Queen and Slim
Cynthia Erivo in Harriet
Kaitlyn Dever in Booksmart
Edward Norton in Motherless Brooklyn
#Joaquin Phoenix#ana de armas#renee zellweger#jeff goldblum#movies#jonathan pryce#anthony hopkins#leonardo dicaprio#brad pitt#once upon a time in hollywood#Quentin Tarantino#judy garland#knives out#rian johnson#cate blanchett#richard linklater#the peanut butter falcon#zack gottsagen#isabela moner#dora and the lost city of gold#Alessandro Nivola#the art of self-defense#kelvin harrison jr.#waves#little women#jodie turner-smith#queen and slim#cynthia erivo#harriet#Edward Norton
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Legendarily Defensive: Editing the Gay Away in VLD
Disclaimer: This meta is a collaboration of the entirety of #TeamPurpleLion. We understand while we do touch on narrative romance, we are intentionally trying to be as ship-neutral as possible, and provide that which we only have evidence for. We encourage the experts in their respective ship-fandoms to meta as they do best on these topics, and we hope this can be a factual basis to springboard from.
In the most recent AfterBuzz interview March 4, 2019, Executive Producers Lauren Montgomery and Joaquim dos Santos revealed in no uncertain terms who, precisely, is responsible for the editing fiasco that resulted in the version of Season 8 presented to the fandom, including explaining to their viewers when the changes were called for, and a heretofore unknown why: the removal of a mlm relationship between two of the male Paladins.
Let’s break it down.
The interview itself is a little very difficult to stomach, especially the latter half. But, the first portion is an unusually open and honest discussion of what went down behind the scenes, and what it meant to the producers. It’s also the place where we’ll be lifting direct quotes from. The hosts of AfterBuzz allow the Executive Producers to have the floor and speak with quite a bit of leeway, and some very curious facts come to light. For anyone interested in the source, the interview can be found on Youtube.(3)
Voltron is a unique case. While much of the fan base may not have been around for prior incarnations of this franchise, it has existed for quite a while.
It originally came from a Japanese show Beast King GoLion. From this show, the robot we recognize from Voltron: Defender of the Universe, was created in 1984. There exists an interview with the Executive Producer of Defender of the Universe, Peter Keefe, as well as other cast and crew on the production of how BeastKing became Voltron.(4)
After Voltron: Defender of the Universe, several other iterations bloomed forth - some in the form of comics, some as sequels, some as reboots. The first series to follow Defender of the Universe was Voltron: The Third Dimension, a CGI-based sequel released in 1998.
While not nearly was popular as its predecessor, it managed to stir up some legal conflict:
“Worse, the Japanese creators of Beast King GoLion — Toei Animation — began saber-rattling. Toei believed World Events had overstepped the boundaries of their 1984 agreement and made the CGI series without buying those explicit rights.
To quash this dispute once and for all, Koplar and crew purchased GoLion outright in 2000. Now they had the freedom to adapt at will. But nothing was in the works.”(7)
As of 2000, Koplar and World Events Productions (WEP) owned all the rights to Voltron. Talk of a live action movie has been in the works since 2005, but with little traction. In 2010, WEP licensed rights for the Voltron franchise to Classic Media (now DreamWorks Classics) (7). By 2011, the animated series Voltron Force was released.
In 2014 Lauren Montgomery and Joaquim Dos Santos approached DreamWorks Animation with the idea of producing a new Voltron show, with the license DreamWorks had recently come to own through their acquisition of Classics Media. In 2016, Voltron: Legendary Defender launched.
It’s worth noting World Events Productions licensed rights to produce Voltron content to DreamWorks Studios. They did not hand over the entire franchise to do with as they saw fit. DreamWorks only purchased the ability to play with the characters and the story in whatever capacity WEP believed would remain on-brand.
Amidst the protests and visceral reaction to the final season of Legendary Defender, many have felt confusion about where to direct their frustrations.
In another post, @crystal-rebellion theorized the symbolism in Season 7’s Episode 4 ‘The Feud’ was actually a very blatant representation of what was going on behind the scenes, and why. (2)
Since the most recent interview, statements from the Executive Producers as well as the host have confirmed this to be an accurate assessment of the situation.
Joaquim Dos Santos says it himself:
"This is not a vilifying of DreamWorks. Any exec we ever interacted with was like, 'Hey, we understand why you want to tell the story, we understand where you're coming from. It's a little bit bigger than that. There's other sort of controlling parties with Voltron, which makes it unique.’ It's not just a DreamWorks owned property, and I think it got logistically really really weird." (3)
Seven times, he specifically mentions the pushback didn’t come from DreamWorks, but from ‘other controlling parties.’ He alludes to some logistical weirdness, the implication being a difference in creative direction, or some dissention from higher up. In fact, the hosts and EPs discuss a controlling IP owner eight times in the course of one interview.
He also says, in regard to the issue of LGBTQ+ representation and Adam specifically:
“Here's where we arrived on this. And we were pointing to things like Overwatch. We were pointing to Steven Universe. They're different scenarios, we were in a slightly different position. We didn't have that position of being the creators of this IP. And we also weren't a video game that was marketed to teens and above. We for all intents and purposes were started as a show for boys like 6 to 11 to sell as many toys as possible. And that's just like a fact and that's business, and it is what it is.” (3)
DreamWorks is not a platform that markets ‘toys for boys’ (a talking point brought up no fewer than five times) - but World Events is. President Robert Koplar himself states his target demographic is boys and their dads in Episode 12 from the Let’s Voltron podcast not once, but twice. (5)
The EPs confirm as much with their recent statement in the March 4th ABTV Voltron interview(3) that the possibility of a male paladin’s replacement was greenlit until the IP holder learned the male paladin was to be replaced with Acxa, a woman. This kind of sexist hypocrisy goes as far back as 1984 with Allura being spanked in front of her own team in one episode(11) and tied to a chair by them to prevent her escape in another(11). The 2003 Devil’s Due comic shows Lotor, who looks to be no more than five, witness his mother’s murder via strangulation by his father (complete with an expression of horror on her dead face)(12). Lotor then suffers the same type of non-lethal strangulation in a scene where his father interrupts what the comic refers to as “recreation” with a scantily clad blonde resembling both Lotor’s mother and Allura in a different series(13). All of this takes place in a franchise whose target demographic has consistently been six to eleven year old boys and their fathers. Koplar’s company has made their hypocritical moral stance abundantly clear in Legendary Defender, even going so far as to order the destruction of the entire final season. According to Dos Santos:
“Specifically with Season 7 and 8 we basically held onto Season 7 so Season 8 was like done by the time S7 was dropping. We had like a month left when reaction for Season 7 started coming in, and that was day of the drop. We were in a weird position. To DreamWorks's credit, the tide started changing internally. They came back to us and said, okay we're open to explore this relationship between Adam and Shiro so we were in this weird position where we had all the animation done, we had $0.00 left in the budget in terms of like what we could do and it was like, all right, we know Adam's fate is what it is, do we do this and sort of like take this step knowing that we're going to take some flack? And we decided to do it so we revised the dialogue. You can probably see it in the animation. If you really pay attention it's like, it's literally our editor cutting out mouths and like puppeting different dialogue. The dialogue is pretty vague, it's sort of the best we could do, and that was a process of discussing what we could actually have them say.”(3)
Hold the phone. Taken in context, Dos Santos is explaining the process of DreamWorks giving the showrunners the green light to change the epilogue of Season 8 to give Shiro the unambiguously gay orientation they had written out of Season 7. The problem is, there is no dialogue in the epilogue. Even if we consider the epilogue to consist of everything from “one year later” onward, there is no dialogue for Shiro and another male character that would have to be reworked.
Here is what we think happened: Season 8 was finished in June. The IP owner hated it and ordered it changed at the beginning of July. Those changes included cutting a male/male romance. August came and the fandom melted down over Adam dying. Hoping to avoid a repeat of the Adam debacle, in mid-August DreamWorks came around and offered to let the showrunners put something into Season 8 for more gay representation. By this point the edits to Season 8 were almost complete, the budget was gone, and time was short, so they opted to give Shiro a wedding during the ending, in the epilogue. In an effort to brush off the clear edits to Season 8, Dos Santos mentions the lip movements during the interview but is confusing the making of the epilogue with the rest of the edits.
Indeed, it seems those edits resulted not only in the deaths of the series’ heroine and a childhood abuse victim, but also in the demolition of not just one but possibly two completed romantic arcs. When discussing Allura and Lance’s romance, Dos Santos and Emma Fyffe have this to say:
JDS: I could see the argument where it’s like, it's basic. It's what we've kindof come to expect from okay the guy sort of turned around and-- but I think Lance's arc aside from being with Allura was bigger than the Allura love story.
EF: And Lance's overall story arc I really enjoyed. But again, I think it's this whole idea that we were dealing with this IP that was like "okay, monster of the week, it was like dudes being in love with one hot girl and just macho men with fighting robots and whatever was happening with Pidge".
JDS: Right, yes, yes. (3)
The showrunner himself not only agrees Lance’s milquetoast romantic arc was due to pushback from the IP holder, in discussing the controversy surrounding the main characters’ sexual orientation, Dos Santos inadvertently reveals a major romance between two male paladins was cut.
EF: ...it is important to know that, again, you have this character who is very much your sort of quintessential, like, alpha male.
JDS: That-that was the trope that we were trying to, like, sort of step on was that, you know. I grew up with characters like Duke. To a much lesser degree, he’s a big, giant robot Optimus Prime. The idea of Optimus Prime being with another Optimus Prime was off the table. Like it was a no-go. (3)
If Allura and Lance’s IP-owner-influenced romantic arc is any indication, clearly two main paladins being together was fine. Dos Santos is referring to the inability to pair two male mains.
We don't know for sure, and won't until the original S8 is released. But, we have reasonable cause to believe Keith was intended to be gay and part of the romance that got tanked. When speaking about Keith’s sexuality Dos Santos says:
JDS: Because, I think we didn’t, we didn’t pair him with anybody, you know what I mean. I think we didn’t designate sort of where he stood. We don’t know. It’s-- It’s--
KC: We don’t know
JDS: Yeah, it-- It doesn’t really matter to be honest with you. I mean it would be great to confirm just to make people happy, but, like at the end of the day he is who he is, and leaving it open to interpretation. (3)
Do you hear that? “It would be great to confirm”. Not that it would be great if they could have done it, but if they could have confirmed it. It seems that JDS conceptualizes Keith as having an attraction to men, but he was forbidden from making that fact plain. Again, we have no concrete evidence of who Keith was slated to be with, just that the writers couldn't have two gay male paladins.
The wording of his statements is just clear enough to avoid dishonesty and just vague enough so as not to break contract. Even beyond NDAs, it’s not as if the Executive Producers can speak more directly to these points. We already have evidence of the IP owner’s character in the form of the Voltron Store’s Twitter presence outright lying about WEP and the store being separate entities:
(8)
When only a few weeks earlier they had liked a tweet explicitly identifying them as one and the same, while confirming they have the final say over what can be done with the characters:
(1)
Before the fandom realized that WEP was behind the edits to S8 of VLD, the information that they owned the license was accepted fact. This excerpt from the Lets Voltron Podcast, Episode 134, is just one example:
(talking about a Voltron reference in Ready Player One)
Host 1: For those of you not in the know, if you think DreamWorks is the all in all for Voltron. Well, World Events Productions is the company that owns --
Host 2: The Voltron intellectual property.
Host 1: Many of you have heard of DreamWorks obviously. They make the show. Well, World Events Productions owns the property and has helped make this new show and all previous shows possible.
LV Podcast EP 134, 5:00-5:30 (6)
Now? Many official avenues are hastily attempting to downplay WEP’s involvement. When reached for comment in February 2019 the LV Podcast claimed that DreamWorks owned the licence.
The official phone number listed on WEP’s website no longer offers an option to connect a person to WEP, instead it offers three options: to directly input an extension, the accounting department, and The Voltron Store. (9)
In an effort to prevent fans from contacting them with complaints, WEP have inadvertently made their association with The Voltron Store explicit. Regardless of what the twitter account may claim, they are one and the same company.
If these incidents weren’t damning enough, the store has further attempted to engage in a subtle smear campaign by liking tweets from users apologizing for harassment and death threats the store had received over Season 8, when all groups bringing the problems with its forced edits to WEP’s attention have specifically advocated for civil and nonviolent communication. (8)
As the story unfolds, one point is clear: Each new interview brings more information forth, repeatedly shining the spotlight on one little office in St. Louis.
WEP LLC is a private company. It has no shareholders, investors, or boards to answer to. It is the sole IP holder of the Voltron brand, and its President is the only person in the entire world who has final say over what can and cannot be done with the characters. When someone says “the IP holder” they are really talking about one man: Bob Koplar.
#TeamPurpleLion is a collective of analysts ( @crystal-rebellion, @dragonofyang, @felixazrael, @leakinghate, and @voltronisruiningmylife )intent on tracking down the who, what, where, how, and why of the destruction of VLDS8. We present sourced & cited commentary, relying on evidence so the VLD community can see what happened behind the scenes.
#Shiro#Keith#Lance#sheith#klance#VLD#voltron#Voltron legendary defender#FREEVLDS8#WEP#World Events Productions#meta#Hate tries to Meta#fubob#TeamPurpleLion#crystal-rebellion#felixazrael#homophobia#Allura
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