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life-rewritten · 3 years

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The doomed futility of Sisyphus; Sisyphus The Myth Kdrama Analysis

Before we start this analysis, I did have a lot of help getting to understand what's happening in this show especially the logical rules of time travelling, due to this website bitchesoverdrama, we have a great community over there we talk about shows and comment our thoughts and the way packmule sees things in shows is so inspiring. So even though this is my theory it is based of her own theories and opinions on what's going on in the show.

Sisyphus The Myth Ep 1-4

Let's talk about Sisyphus. The Korean drama that everyone seems to have something to say, mostly negative because they don't understand where the storyline is going, and because of that frustration of lack of understanding, they go to insults, and annoyance, and lack of patience to wait it out, they call the show ridiculous with it's terrible directing and also outlandish action scenes and unreasonable logic. The first mistake these people made is going into this show, thinking it was a logical sci-fi. There is another show where people have mistaken a mystery fantasy plot (as the writers announced it was, in an interview) for sci-fi because it includes scientific rules sometimes and discusses time travel. Do you the know the show? It's The king's Eternal Monarch. So because logical people have it out for writers using specific sci-fi plotlines to write a romantic mystery show; that doesn't actually base its self on the realism or logic of the science they expected, people call these stories dumb; they say it's ridiculous and should not have been done. And it's hard for people like me who completely gets bored at the idea of a sci-fi show, I'm not logical. Let's first get that out of the way; I won't be calculating mass, and time, and velocity and use maths and science as a base for my analysis. In fact, I usually run away from anything to do with sci-fi. But there's something funny about this, that with TKEM and now Sisyphus, mystery fantasies that do incorporate a piece of the sci-fi genre, actually make me enjoy them.

Perhaps it could be argued that it's because I'm not smart and I like ridiculous things, I only want romance with shitty writing, and maybe that's it. However, I disagree, what I see in these stories are a different sort of basis; instead of relying on scientific logic rules, or whatever is seen as appropriate in a sci-fi plotline, they use meta; they use other things to make their world mean something. For TKEM, it was literature and fairytales, and stories, and for Sisyphus actually named after the Greek myth, it's the same. In order to understand where a show is going when it uses a literature base, you have to first understand the source. What is the source saying? Why have they chosen this source to tell this story? But people clock out and don't want to wait, aren't connected to the characters enough to care, or just plain detest anything that doesn't follow a specific set of logical rules, and that's fine; you're allowed to like or want whatever you want to see on TV, it's your experience, but for the others who do want a show that is maybe deeper, interesting, laced with a good plot and love story that is sad, futile and also romantic, then I would suggest Sisyphus being for you. This isn't going to have a lot of support, and I already know this. Still, I do want to write about this show and explain why I'm into it because it has everything I like, a mysterious plot, fantasy/sci-fi elements, and a romance that is very angsty but also very deep. The show's director maybe not be as great as the others before him, but I think he's doing an okay job showcasing what he wants from the story. So yes, Sisyphus has so many scientific questions to ponder about, but I want to get rid of all that and focus on the bare bones of the story. How does this myth connect to this story, and why does it foreshadow how good this plot could be? This doesn't mean, this plot will be great because it all depends on the directing and writing skills, I'm not familiar with their work and with the director. I don't particularly care a lot about what he offers. But I know how he makes shows, I know the themes he's into and from this myth analysis, this show is definitely up his alley. So for now, I'll keep enjoying it and analysing, but it doesn't mean I think it's the best thing ever to exist in this genre. Okay, now we have that out of the way; let's learn about Greek Mythology, shall we?

An Introduction to a Genius

So who or what is Sisyphus? When I hear about Sisyphus, I think about the guy who tried to run away from d*ath but ended up being captured by Zeus for even trying to think he could do that. He ends up basically with this painful task of constantly rolling a boulder uphill. In a way, it's depressing AF, and it really holds this theme of futility and punishment. So it's interesting to see we have a character who is being punished for his brains and his cunningness to evade situations and save people, and it seems unfair that he gets this ending. It also makes me worry about Tae Sul, our main character in Sisyphus the myth, who begins the first episode evading d*ath by saving tons of people on a plane and then also wanting to revert a specific family member's demise that he feels guilty about. Taesul is just as smart and cunning as Sisyphus; he uses his skills, his brain and his talent to help people. So it's a bit disturbing because already from looking at him, it's unfortunate he's destined for a futile, sad ending; he's destined to be punished by powers be, for being an obstacle. And will you have it, the whole plot revolves around him being chased by people who want to get rid of him because it seems he's found a way to prevent d*ath and prolong the lifespan of the people he loves. What a surprise. Honestly, it's that simple; the boulder represents him having to take on weight constantly because of his actions and live with that repeatedly being chased by the thing he tried to avoid. The episodes scream that it's because he tried to bring back his brother from the past, but the thing is, there's more to the myth of Sisyphus than just this outline. So before we can truly understand the big picture and where this plot is, we need to truly go back and understand the real story of Sisyphus, the myth.

Let's go back. So yes, Sisyphus is cunning, smart, witty, he has many moments since he's apparently a king, royal full of influence and power. He really cares about protecting people, including himself, yet the way people see him is actually harmful. They see him as childish, sneaky, heartless and a player. Surprise. The thing is, this is precisely how we are introduced to Taesul. He's a big flirt, a big child who complains and acts immaturely with his company. He's someone of influence, in fact, significant impact; so much money and prominence, and yet he doesn't seem like he cares about anything. So yes, you can understand why people have a wrong perspective of our Sisyphus. However, he doesn't want to care about anything because he's self-destructive, broken by the guilt of letting pride, money and greed stop him from preventing his brother from being eliminated.

And it's something that lives with him every day; in fact, he's dependent on self-medication to get rid of the haunting figment of his brother. Now he says he doesn't care about people and others, but we know he's lying; he's clearly someone who's destined to protect, he does care even when he acts nonchalant, for example, saving a whole plane from crashing and hurting people, especially when he has said he is waiting and has been excited to leave the world, if he were selfish he would have let the plane crash, he didn't care as he said, but something in him still went back and provided the solution to help.

So this is really vital, this idea of Sisyphus being misunderstood by people in a way he's actually with a saviour complex, he protects, and he saves people with what he has yet even his actions are deemed evil or selfish or a natural disaster for them. So again, it's obvious the plot is based on whatever he has done to create this apocalyptic future we see in the show that is being misunderstood. The people who are out to get him are seeing him and hating him when in reality, it's obvious this was meant to better the world/ also himself because as much as Sisyphus has a saviour complex, it doesn't mean he's selfless; in fact, he's a very selfish character, he'll put his own needs above the world at times. This is where Taesul will make a mistake. Because for him, his only goal is to bring back his brother, even when warned he shouldn't, even when there are hints that him unveiling the truth will lead to suffering and the end of the world as we know it, it's still all he wants to do. Is it just that though? I'm getting ahead of my self I still need to break down this myth.

The Problem with Cunningness

So Sisyphus is someone with cunningness, knowledgeable and powerful, so when the first time he sees an opportunity to get rid of this thing we call mortality for people (not just him), he's punished when the gods aren't happy. Especially the god of war himself, Ares, who is frustrated at Sisyphus for chaining de*ath, Ares is upset; he is annoyed that Sisyphus is getting in his way, making people lose the meaning of war, what's the fun of war if no one is being removed? Which is interesting because we also find out in Sisyphus that Taesul's actions and mistakes and his own demise will lead to a war that will end everything and some organisation isn't happy they were at the losing end of that war. They hated the result of Taesul being alive to either cause or prevent that war. So they're sending people from the future who look creepy as hell and also like don't have limbs because they're rushing the process of uploading or just using a fake uploader with more errors (not yet sure which), but they are here with one goal; to get rid of Taesul, like Ares. Wow.

So Sisyphus punishment is actually that he is eliminated and sent to the underworld. Wait, so it wasn't the boulder that was his first punishment; his first punishment was to be chased by De*ath (I'm going to find another name for this we're gonna say D because of this stupid flagging system in Tumblr) just like Taesul is suffering in the present time in our show. Oh, okay, so where do we get the other punishment, the one Sisyphus is really known for. This is where the plot of this show unfolds, surprisingly. Because there's another character connected in this Sisyphean myth, Seohae, meaning Sisyphus had a wife. So when Sisyphus ends up, you know, getting axed, he still has a few tricks up his sleeves; he asks his wife to do something for him, not to bury him or respect his body wishes appropriately, in fact, to drop him naked in the middle of the city (that's obviously a parallel to how people are being downloaded into the past in the show visually). So because he did this, he's able to trick Hades and Persephone into letting them allow him to run back to the past to his wife to have a go at her, to tell her she didn't respect his wishes. And oh boy, oh boy, does he end up again evading D. Genius, in fact, he ends up going back to his wife and staying a very long time because it was his plan all along; he wasn't back to the underworld; they were all chumps who allowed his escape. So Sisyphus is a funny character, he chooses to go back, and he again avoids D; however, when he finally reaches his old age, he has to face everyone, including the gods; Zeus isn't happy with Sis; he says it's a bit of an insult really for what he has done, so Zeus basically punishes him with that godforsaken boulder.

Okay, hold, that's a lot to unpack. So what happened here is we're still seeing Taesul as Sisyphus in this second part of the myth, right? So he's going to find a way to avoid Sigma always and survive, but we know he doesn't. His story ends truly when his demise leads to the war if we're following a timeline mentioned by Seohae. So what is this second punishment about a boulder? Because this is the most crucial plot for every Sisyphus myth.

Our Surprise Sisyphus

Well, look at it carefully;

it has themes of running back to the past to criticise a lover,

it has themes of trying to prevent a lovers demise,

it has themes of futility and repetitive actions, it has themes of being punished by a powerful source,

it also has themes of someone who is rebellious and doesn't want to let D win.

It's Seohae. And that blew my mind. We don't have one Sisyphus in the storyline; we have two. The show's title is Sisyphus the myth because the love of these two is actually the role of Sisyphus; let me explain.

The first acquaintance with D is Taesul's story he's the one who invents a way to chain D and then is punished by being taken by D. The person who ends up wanting him to save himself is not himself in this show; it's Seohae her whole goal, her whole reason to want to go back is also to evade D for her mother (she mentions this in episode 1 to her father) but also to stop Taesul from being eliminated, to stop the war but more of all because she loves him, she's married to him, they're meant to be lovers. However, she doesn't have all her memories of everything. All she knows is that another version of her self has told her she needs to go back in time to warn Taesul, so he doesn't make this mistake, so they live happily together after marriage, and the war doesn't happen.

Ohhh, that's what's happening. So who's Zeus, you ask? It's the ICB, the Control Borough, that has to find balance and makes things right with all of the time travellers; they're looking for Seohae because she's illegal; she's not meant to be doing what she is doing. Just like Zeus has to intervene to punish Sis. So alright, we're getting there, we have Taesul, he's going to do something to avoid D, but unfortunately, he is going to be found by D because someone does not want him to succeed. Okay, however, we have Seohae; she is in love with Taesul and is determined to keep him safe. Hence, she finds a way to go back and warn him to prevent D from finding him; she essentially tricks the system to find and save the world, but also selfishly to go live a happy life with the guy she loves. So what's this about this boulder then?

The boulder; A heavy frustrating punishment

Well, unfortunately for our two characters, it's pretty apparent Taesul always ends up being eliminated #, and it always leads to the war that destroyed earth. But also we know Seohae gets shot; during her wedding, she also is fated to suffer and be eliminated if she goes back to save Taesul. Her father warns her repeatedly about this. She doesn't listen. The clue here is the boulder keeps on being pushed; Sisyphus is in a constant struggle of the futility of his punishment; he can't escape; he is tied to this boulder to keep trying to push it to a destination, but all he does is repeatedly keep pushing the boulder infinitely.

Oh, wait, a show about time travel, a show about the futility of trying to change the past, a show where the future versions can go back with regret and meet their past versions which make the same mistakes over and over again, no matter how much Seohae tries to stop Taesul from opening the stupid suitcase that starts everything, he always opens it, it's useless, they're in a time loop. Each time he always creates the uploader, and each time the war happens, Seohae returns to stop him from being eliminated each time they always fail, and Seohae somehow leaves her diary telling her next self to do the same. It's an eternal loop. She's stuck being punished for carrying that weight, constantly relive that story over and over again, to try and save Taesul; her destination is always the start again. Like Sisyphus with the boulder.

The only thing is why does she not remember or why is she acting like she doesn't remember, because it's different versions of her, it's a paradox, she always goes to find her next self, and she leaves that diary starting this all over again, her next self has now instructions always telling her to find Taesul, to save him and when she's going to be eliminated. (her wedding probably). Each time she goes back to save Taesul, she falls in love with him, they get closer to the wedding, and she gets shot. For Taesul, we see that the wedding leads to him making an ultimate decision, remember Sisyphus evades D twice. Seohae does this all the time to escape D for her mum and Taesul.

Meanwhile, Taesul only does this to avoid it for Tae san, his brother. Who is the second person? It's Seohae. They're Sisyphus for each other, surprise, Seohae ends up becoming Sisyphus always to try to prevent Taesul's demise and the war, but Taesul has a choice on the wedding day to choose either Seohae's life, or the world, what do you think he chooses? That's why I think he continually invents the uploader because of her, to save her, more than anything else. He always chooses futilely to save her above the results of the war. In doing so, he always ends up being the one who gets eliminated, but she always ends up determined to prevent that situation.

Her dad was indeed right; she shouldn't meet with him; they both are in this repetitive loop, and the world is always a victim because of it. See how Sisyphus can try to be good and protective but still be seen as evil, a disaster, and a curse. So, in the end, both Seohae and Taesul are Sisyphus; both are punished every time. One by Taesul continually being caught and two by Seohae constantly losing her memories and forcing her self to repeat the journey again, to push that boulder over and over again. But with TKEM, we entered a timeline where change could happen after being stuck in an infinite loop forever, and that's interesting. With this show with how many times it seems Seohae has always written more instructions each time she travels, could we be in the timeline where things may become different?

Sisyphus; A chance to change the past futilely

It seems like it more things are being revealed to them, that might be new information, Jung apologising and realising his mistake in probably being the one who takes Seohae's life in the wedding because he thinks she's evil (lied to by ICB) might be a new occurrence in this new timeline. There's more information slowly being added each time we do this time loop; the question is, where are we now? As I said, I don't know the science or calculations needed to understand the time travel aspect of the show, but that is important.

So we have a star crossed romance that is being torn between the claws of D, two people punished continuously for just wanting to be with each other and putting the world at risk. We've seen what the results of Taesul's actions lead to; it leads to an apocalypse, a disaster and more; we've seen his stubbornness and determination not to let that stop him. All he wants is to evade D for his loved ones. But Seohae also becomes like that; she's also stubborn, also determined just like him to protect her loved ones despite both being advised not to do anything more, not to shake fate, not to mess around with time and life. Still, they never listen; they've put themselves in a time loop where they're being punished, and their punishment leads them again to do the same thing because of their desperate need to be together.

It's heartbreaking; however, there's a slight hope for a happy ending, one because this director does stories of couples torn apart by forces and things they can't control (Master's sun, Dr Strange etc...) being tied to each other's downfall and growth, being pulled away no matter how desperate they want each other. Their need to be with each other puts others at harm, but he always ends it in a happy ending. Sisyphus actually gets his goal a bit, not how he wants it, but he gets to live a long life with the woman he loves. However, it's after he lives that life; he goes back to being punished. So maybe this timeline Seohae may succeed and live the married life she wanted with Taesul (she does not know she loves him, she will fall for him repeatedly each time they do a loop, both of them always do); however, the sad truth is it was not her first version/authentic version that got to live that happy ever after, it might be this version though who knows? Either way, her original (her first-ever version, always suffered and had to be the one to push that eternal boulder with no end, she didn't get to see her ending) but this one or another future version may do. Taesul also has a chance to have a happy ending because even though his story ends with the first part of Sisyphus, Sisyphus finds a way to get out of the underworld and go back to his wife, so again it's like yeah, his first version did get punished, did get eliminated, failed, but this version or a future version may get a chance to spend that time with this Seohae.

Do you get me? It's not their original versions that get the happy ending, but it's still them that gets a chance to live old and have a happy life. So I'm hopeful, is what I'm trying to say. Thought that infinite loop of futility and failure to escape mistakes isn't a great sign. Let me know what you think about Sisyphus so far. Are you like me? Are you intrigued by this love story, and what are your theories? Let me know.

#sisyphus the myth #sisyphus #kdrama #sisyphus the myth kdrama #cwg #march #korean drama #park shin hye #cho seung woo

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lavenderek · 3 years

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Why were you disappointed by the Howl's Moving Castle movie? I think I read the book years ago, but I don't remember much about it

i'm gonna critique the gibbly movie and it's my understanding that it's a special movie for a lot of people so if that's you feel free to skip this one

so i was delighted and enchanted by the book, which has only twice to date not made the movie a devastating letdown, so my dear friend sending me this book was pretty much signing a contract in her own blood accepting that i would be cranky about the movie. i'm not really a ghibli person either, like i can appreciate the artistry and value in them, and i'll watch it if the people i'm with really need to watch princess mononoke or whatever, but i just don't go out of my way to watch them. (i like reading meta about spirited away, though.)

i did go out of my way to watch this one because i loved the book so much.

it's important to remember the culture in which the movie was made as opposed to the culture in which the book was made. howl is welsh, if that says anything to you. (his name is howell, and he adopted the name howl to run from himself and seem more magical. i love him and movie howl had none of those elements except for when he told us he was a coward and i was like. ok lol, i'll jot that down because i didn't see it in the text)

so i'm not necessarily surprised by the creative changes they made, but i am confused, because those changes drastically affect the characterization, the character motivations, and the pacing of the story.

(i also was only able to get my hands on the dub and i loathe and detest christian bale as howl lmfao but that's subjective)

so first of all, does movie sophie, like, want anything? she's flawless as a character. even though she has a completely different personality as an old lady than she does as a young lady, there's nothing wrong with her. everybody is fond of her, she's shy, she's gentle, she's beautiful, and she's kind, and her only motivation in the whole movie is this vague desire to cure the curse, but even then she doesn't work on it much at all. her life before howl is about being buffeted around like a leaf in the wind, and her life after howl is about being buffeted around like a cow in a twister. sophie in the movie is a blank slate. she is insecure about her looks (seriously, they couldn't even give her like a crooked nose or something, only doll-faced, thin, pale women over here), and her confessing this and crying about it for about four seconds was the first truly deep emotional response i had seen of her. i cried when she cried, who doesn't grapple with feelings of inadequacy? then the kid came out and she was like, okay, i'm done being upset now :)

second of all, howl is a little eccentric, but mostly he's just a glorious gentleman who has a messy room and one (1) overly dramatic depressive episode. it was disturbing to me as a viewer because it was violent and came out of nowhere, and it never comes back again lmao. it was so bizarre, he's introduced as this suave, debonair man in a cape, and he stays that way the entire movie, except for a weird moment in the middle where he screams at sophie naked and then lists the character flaws that we the viewers have never witnessed. why does he like sophie? why does sophie like him?

why did they turn michael into a child? i just don't see what that added to the story lmao. i get them taking out the complexity of secrets involving sophie's decidedly interchangeable sisters and their mystery beaus, it's a lot to fit into a little movie; but like, why did they turn him into a child though lmao

there's a lot of fatphobia in the movie too.

the change that upset me the most, though, was that the element of sophie having the ability to influence things without her knowledge was totally abandoned. like i said, things just sort of happen to her. in the book, her hats are the most lovely because she's inadvertently cast spells on them to make whoever wears them seem alluring or mysterious to people. the witch curses her because she recognizes these little spells and believes sophie's trying and failing to trick her (and also because sophie snaps at her lmao, why is movie sophie only an asshole when she's old? leave my daughter alone).

book sophie unknowingly protects howl by worrying over his cape (which she previously shredded because she got mad at him, i love her), she unknowingly enchants the scarecrow by helping it stand and complimenting it. she does that the entire book. she also starts the book already feeling sort of dull and trapped, and spends the story trying desperately to solve mysteries and protect loved ones. movie sophie doesn't like, sit around and knit demurely, don't get me wrong; but all the major plot points are things that howl makes happen to her lol.

i think the scarecrow is an excellent representation of book sophie's inner struggles. it's something she inadvertently enchanted, and she doesn't understand it, so she runs from it. she's terrified of the thing. in that way it kind of stands in for her own agency: only when she was forcibly in disguise did she feel free to find out what she wants her life to look like, and that kind of power is foreign and frightening to her. i loved that for her.

and very late in the book, howl reveals that he knew all along she was under a spell, that he tried to get rid of it out of curiosity (book howl doesn't seem to notice that he's just as imperious and nosy as sophie is), but she resisted it. he couldn't get the spell off. so he assumed she wanted to stay that way and let her be about it. so basically it's very huck finn on the raft, she realizes that in running to get away, she was already away. she had that agency all along.

all of that was missing from movie sophie. the idea of her inadvertently hanging on to the curse is still there, we see that she sort of fades back to her young self while she's asleep (not the case in the book, we know this because howl doesn't know what she looks like until she turns back in the end); but she doesn't seem to gain any knowledge about herself because of this. the only time she seems to have any personal drive, it's to learn about and help howl. her inner struggles are about howl. and i hated movie howl lmao, i hated his design and i hated his voice and i hated how like, patronizing he was to everyone around him. book howl was a condescending dick at times and just weird and distant at others, but he never came across like he was absolutely positive he was seducing sophie at any given moment. it was clear that he was the star of the movie and sophie was just the audience stand in to be like 🤩🥸🧐

the scarecrow who is a prince was the most hilariously egregious moment in the entire movie. in the book, the missing prince is introduced as a plot in the beginning and is referenced repeatedly throughout. and he's a major player in the climax. in the movie, it's the last like five minutes of the film and the scarecrow turns into a dapper boy with bread for hair and is like, "you've cured me! i'm a prince who went missing from a nearby kingdom and i was cursed but now i'm free." and i was like NICE, so we just found out there's a nearby kingdom that has a prince who's been missing. love that for us

the book had a lot of themes that i don't often encounter in fantasy novels - themes of female agency, of disguise, and of chaos. the chaos is my favorite part, every chapter is equally chaotic at various levels. you'll have michael fretting over some spell, sophie fretting over her own spell, howl trying to get someone in disguise to fall in love with him, THAT someone pining over michael, and all the while sophie and howl are bickering because she is cleaning (it seems like she cleans to clean up her mind) and he doesnt want her to (he is afraid of change and of reality), and he needs a huge favor of her, and she needs to wheedle out of it, and she promised calcifer she would free him, and calcifer is repeatedly promising to die of not being appreciated enough, and everybody is having three arguments at once. it's like that in every chapter, culminating in the moment howl and sophie realize they're in love, and they stand clasping hands and sort of smiling at each other in the middle of a room full of panicking and perplexed people just yelling over each other lmfao. surrounded by chaos and no longer thrown by it, rooted there in the middle of it, stabilizing each other in a way. i loved that. i actually flipped back a few pages so i could read that moment again.

and it seemed to me that the movie tried to imply that with visual chaos, but everything else was really quite linear and simple. everything was very airy. and since the conflama and the general atmosphere and character dynamics of the book is what made me fall in love with it, the movie didn't work for me.

tumblr user door pointed out that the book and the movie are extremely different and she appreciates them both as separate entities, and she's wise and correct; i knew this and i tried so hard to engage with the movie on its own terms. but i couldn't divorce them in my mind. i felt the same way about ella enchanted and practical magic. i cant stop thinking like, i wish they hadn't gotten rid of x, i wish they hadn't added this weird element of y.

also it was boring. i checked to see how much more was left three times. sorry. i can't express enough how little i cared about the plot with the witch and somebody's secretly evil boss and time traveling to yell at howl or something, because i didn't connect with the characters. and the feathers growing out of howl triggered my weird phobia about things being embedded in skin. i'm skeeved just remembering it.

anyway, yeah. the movie was beautifully animated and whatever atmosphere they were going for was pretty consistent throughout. oh and i LOVED calcifer. he was my favorite in both the book and the movie. in fact, he was the only character in the movie who they didn't really change, he was petty and bitchy in both versions. i loved him. he's like, "SHE FED ME SOMETHING YUCKY" my perfect, horrible boy.

oh and. book sophie was a redhead. that's all.

after i finished the book i tried to draw how imagined them:

couldn't finish it though, i wasn't super jazzed about how it was coming out.

she's sitting in like, a window well altering a coat of his without permission. and he's like, i guess i'll have to wear this one instead, and she's like, i guess you will

#haters #who is this even #long post #howell's mobile home #talking out of my ass

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horde-princess · 4 years

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A Meta on Catra’s Relationships with DT, Scorpia, and Adora

I’m so excited to write this finally ljsdflkj okay so. I’ve been thinking about why the creators would choose to center a whole season around this new character Double Trouble. They drove the plot and played a major role in a really important part of the story, Catra’s redemption. So I wanna think more about the purpose of this character and go deeper into a couple of their scenes with Catra.

tbh Catra and DT’s very first interaction says it all: DT literally takes the form of Scorpia and tells Catra “I’m about to become your new best friend.” As the season goes on, Double Trouble replaces Scorpia as a sort of artificial confidant for Catra. But it blows up in her face and the purpose of the whole thing is to shed light on Catra’s main internal conflict: her desire for love vs. her fear of heartbreak/vulnerability.

In other words, I believe Double Trouble was introduced as a foil to Scorpia. But if we think about how Scorpia is also a foil to Adora, then that means DT is like... a foil to a foil. So they’re not directly associated with Adora but a lot of what they do relates back to her. Yeah there are a lot of layers here lmao but basically what I’m gonna analyze is how Catra’s relationships with these three characters intertwine and build off each other in season 4 to set the stage for Catra’s redemption (and catradora endgame hollaaa)

So in the beginning, Catra and DT both understand their relationship to be a business arrangement. When does that start to change for Catra, and why?

Catra’s History With Betrayal

Just think about Catra’s relationships at the start of s4.. After the portal, Adora had basically severed whatever was left of their relationship, and that was shown to be weighing on Catra all season. Scorpia and Entrapta were the only other people she cared about, but Entrapta betrayed her (first by monopolizing Hordak’s attention then by refusing to open the portal), then Scorpia dared to question her decision to send their friend to die and her presence became a constant reminder of Catra’s guilt. In fact, the mere mention of Entrapta’s name in 4x03 causes Catra to snap and yell at Scorpia “we are not friends!” ... which of course isn’t true. Catra may think Scorpia’s annoying but she confided in her, her loyalty made Catra feel like she could trust her.. and that’s exactly why Catra always tried so hard to push her away. All the betrayals in her life scarred her so deeply that she wanted to avoid emotional intimacy at all costs. I’m about to get Jungian up in this shit bc we see a deep disconnect between Catra’s outward actions (her conscious) and her inner desires (subconscious) this season and it’s this i believe that leads to her breakdown in 4x10. It’s an unsustainable way to live.

Why Catra Trusted Double Trouble

So by 4x04, Catra had sabotaged her only two relationships. She was utterly alone, and vulnerable, and Double Trouble was in the right place at the right time offering their loyalty to her.. so Catra did what any emotionally stable person would do and subconsciously used a hired mercenary to try and fill the growing void in her heart. I don’t think Catra actually cared about DT much at all, like sure they got along and that matters on some level, but I think it’s more that Catra was in a vulnerable place and DT was the only one around.

So why does Catra trust Double Trouble when she won’t let herself trust anyone else? I’ve seen some posts saying it’s because Catra is self-destructive--i.e. she only seeks love from people who won’t give it to her because she doesn’t believe she deserves love--which is super true.. but I think her motivations can be better explained by saying that Catra knew from the start that Double Trouble didn’t really care about her, and that’s why the partnership was attractive to her (at first). She thought it would be safe--no vulnerability, no risk of heartbreak. But the truth is Catra’s just not as disaffected as she wishes she was.

The moment Catra really let her guard down was when Double Trouble saved her from the collapsing building in 4x04.

can we just!! talk about this scene!!!! the way her voice shakes when she says “saving me” just, oh my god... like what a touchy subject for her, right? Shes spent her whole life resenting how Adora was always trying to “save” her from everything. I’m not sure but I think White Out (2x05) was the only other time Catra thanked someone for saving her life, and she just says “thanks for getting us out of there.” So her use of the word “save” here is special and it illustrates how deeply vulnerable Catra feels this season, and more importantly it’s a sign of character development! It’s no coincidence that the theme of saving is connected between DT, Scorpia, and Adora. It’s leading up to Catra learning to replace her resentment towards Adora with something closer to gratitude.

But while the scene connects these relationships, it also highlights their differences. After Catra displays an astounding amount of vulnerability with DT, they coolly reply “well, I live to serve... for a price, of course.”

This right here is the first step of Catra’s breakdown. Suppressed desires making themselves known, one half of her heart rebelling against the other. She was pushing away her real friends and finding hollow companionship with someone she thought she wouldn’t get attached to, but it happened anyway.

The difference between Double Trouble and Scorpia must have become glaringly obvious to Catra in that moment. Whereas Scorpia was loyal to Catra out of love, DT was mostly interested in getting paid. And she was surprised by how much that hurt. She fucking hated how much it hurt, you can see it written all over her face. It’s why she fails Scorpia’s little test in 4x06. Because of Double Trouble, Catra’s true desires were threatening to break free, so outwardly she fights against it and acts more resistant than ever to being friends with Scorpia. She castigates her, calls her annoying and incompetent, harsher than we’ve ever seen... but she didn’t expect Scorpia to hit back (we did, tho. Scorpia’s an icon).

In four words Scorpia teaches Catra a hard lesson about what it means to earn someone’s loyalty. She knew she must’ve really fucked up if she somehow managed to push away the most loyal person in all of Etheria. And again the fake nature of Catra’s relationship with Double Trouble provides a reference for her to see why Scorpia’s loyalty, based in love, was so valuable, and why she shouldn’t have taken it for granted. It also relates to Adora because, similar to Scorpia, Adora had been trying so hard these past 3 seasons to connect with Catra, but she refused to forgive her and her behavior eventually forced Adora to cut ties. So Scorpia calling her out pushes Catra towards accepting some personal responsibility for everything that happened with Adora, too. Man there are just.. a ton of implications here.

Then Catra gives Hordak a fun pep talk but really it’s just her self-projecting all over him:

At this point her hateful actions and her goal to conquer Etheria are extremely out of line with her true desires and we can see it’s really affecting her mental state. It wasn’t just one thing or person that caused her breakdown, it was a combination of Adora severing their relationship, and Scorpia’s disappointment in her, and Double Trouble’s indifference towards her. All three of these situations were playing off each other and chipping away at Catra’s carefully crafted armor, revealing a desire to be loved hidden underneath... which she continued to fight against for as long as she could. Adora and Scorpia were playing their roles in helping Catra learn to take responsibility for her life, but those relationships wouldn’t have been so effective had it not been for how they were contrasted with Double Trouble’s indifference. Anyway have I mentioned how amazing and complex this show is????

Catra Loses DT and Scorpia Around the Same Time

4x07 is the last time Catra talks to Double Trouble before they get captured by the rebels. Coincidentally, Catra realizes that Scorpia left her just one episode later, which once again points to a connection between these two characters. From 4x08 to 4x11 Catra is completely alone, feeling like she has lost everyone in her life. It sets the stage for her meltdown in 4x10. But my fave part about Scorpia leaving is how it changes the way Catra thinks about betrayal.

Even if Scorpia didn’t tell Catra where she was going in the note she left, Catra had to have assumed she was leaving to join the Rebellion because where else would she have gone right? So the two people Catra loves most have now BOTH abandoned her to join the rebellion. I don’t even wanna think about how triggering that betrayal must have been for Catra.. I don’t wanna think about how the next time Catra sees Scorpia she’s going to be a full blown princess with powers and everything, just like what happened with Adora.

But there’s a key difference between Adora and Scorpia. Catra knows at this point that Adora didn’t want to leave her behind, but she did anyway to pursue some destiny that Catra wasn’t a part of, which left her feeling betrayed. Scorpia, on the other hand--the very definition of ‘loyalty’--left her specifically because Catra pushed her away. Her fear of vulnerability manifested as anger towards someone she refused to admit that she cared about, and it pushed her away.

Once again I think Scorpia is teaching Catra a lesson about taking responsibility for some of the shit in her life. It’s a privilege that Adora lost after being careless with Catra’s trust, and thus Scorpia was the only one in a position to reach Catra and help her. But I think that the things Catra learned from Scorpia are going to play back into her relationship with Adora and allow them to reconcile (when Adora deals with her own issues too).

We can also say a little about how Double Trouble’s betrayal contrasts with Scorpia’s and Adora’s. I think their complete emotional detachment is the perfect frame of reference for Catra to be able to acknowledge that even though Scorpia and Adora left her, they DID love her, and they never stopped trying to reach out to her--at least, not until Catra crossed a line with both of them. At some point, Catra went from being justified in her feelings of betrayal to overdoing it, placing too much blame where it didn’t belong and closing the door to forgiveness. So I think that’s the role that Double Trouble played there, helping Catra see that difference. Like even if someone leaves you, hurts you, it doesn’t always mean they don’t love you. Relationships take work and understanding and forgiveness and you have to learn how to handle that or you’ll always be alone. Scorpia’s the pure embodiment of that lesson, and she’s lighting the way for Catra to navigate the much more nebulous waters of her grudge against Adora.

Double Trouble’s Betrayal

So now Catra is feeling abandoned by Scorpia and Double Trouble (her only friends) and we see the disconnect between what’s in her heart and the front she’s been putting on come to a head in 4x10 when she has that meltdown. She’s kind of losing it because her fear and heartbreak are driving her down a path that she doesn’t actually want. It’s like watching a car crash in slow motion. In 4x12 she continues to hold on desperately to the idea that beating Adora will make her happy, because at this point she doesn’t see any way to turn the car around.

There’s an absolutely fantastic scene early in 4x12 that sets up Double Trouble’s betrayal beautifully, like really it’s a masterpiece. Catra’s childhood friends walk in on her in the locker room and they’re laughing and joking around and for a second it’s like... Catra longs to be a part of that again.. To have friends, to be happy. But then Kyle accidentally kicks one of Scorpia’s old doodles (a painful reminder that she’s gone) and Catra freaks out and attacks them. Kyle’s like “we used to be friends, why are you treating us like this?” So she lets them leave, feeling alone and miserable, and THAT’S when Double Trouble waltzes in... having had just made a deal with Glimmer to double cross Catra.

God it hurts so much. The contrast between her pushing away Scorpia and her real friends, and then her childlike relief upon seeing the person who just sold her out.

This scene gives me fucking chills with the nightmare-ish music and everything.. It’s like, at this point DT is just fucking with her, they’ve already got Catra figured out. This face touch is so cruel and fits with the show’s motif of manipulative affection, too. For me it felt very disconcerting to see Catra like this... unaware that she’s been defeated yet she’s so emotionally vulnerable here, she’s like putty in Double Trouble’s hands. Scorpia leaving cracked her open and, as they’re the last person left standing with Catra’s trust, Double Trouble’s in the perfect position to come in and break her.

So the next episode 4x13 has that crazy scene where Double Trouble totally obliterates Catra and I’m not even gonna talk about it lmao because yall have already done a great job analyzing it. But I do wanna draw attention to the fact that this is the only thing she says in this whole scene:

Can you believe that’s what mattered the most to her in that moment? Not that literally everything she had been working for for the past 4 seasons had just turned to dust before her eyes, but the fact that this random mercenary she hired betrayed her. And there was no anger at all, just... heartbreak.

And then look at what she says to Glimmer afterwards (setting aside the fact that Catra is basically giving up on life...) she says nothing about the war, nothing about winning or revenge. The only thing she’s thinking about is how lonely she feels.

So by the end of Season 4, I think Catra did finally figure out what she truly wanted in life. She didn’t want to be on top just for power’s sake, she wanted people to respect her, to love her, so that no one could hurt her anymore. But she was so obsessed with winning that she ended up losing everyone’s respect. Wow haha if only she could get a second chance to earn it back the right way.... like say if, idk, she was trapped in space jail and forced to team up with her sworn enemy to survive and they came out best friends or something <:)

To sum up, Double Trouble’s role in Season 4 was to break Catra’s mask and force her to consider what she truly wants. I think their betrayal taught Catra to really appreciate what a terrible mistake she made in pushing Scorpia and Adora away. It taught her the difference between someone leaving her because they don’t care about her, and someone cutting ties with her even though they do care for her very deeply, they just couldn’t take Catra treating them like crap anymore. It showed her that what Adora did was nothing like what DT did. That’s what a betrayal feels like when the person doesn’t care about you. Someone who doesn’t care about you isn’t going to beg for your forgiveness for 3 seasons and risk being obliterated from existence just to get you back.

But the real beauty of season 4 was how Catra hitting rock bottom had almost nothing to do with Adora. With the help of other friends Catra has begun to find her own reasons to change, she’s acknowledging her guilt and heartbreak and discovering the person she wants to become. She’s learning to take responsibility instead of just blaming other people. And this character development had nothing to do with romance, just like how Adora breaking free of her destiny and learning to let go of control had little to do with Catra. I love the different perspectives on love that they give us with Catra, Adora, and Scorpia. I love how this show takes the “love conquers all” trope and subverts it, saying that sometimes.. love breaks you. Sometimes it’s not enough. Sometimes it’s used as a weapon. Sometimes you have to let go of people you love, but it opens up space for you to figure out who you are and what you want and to conquer your own demons. You’ll come out the other side with a better understanding of what real, healthy love is supposed to look like. And maybe in the end, the love you always sought will find you again, in its own time, in its own way. 💘

#OK THIS IS... A LOT. EVEN FOR ME LMAO #she ra #meta #season 4 is my fave so far i just had a lot of feelings to work through ok #would love to hear what yall think xoxo happy new year's!!

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flying-elliska · 4 years

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S5 Review pt.1 : the Good

Arthur season is over, time to analyze it as a finished story ! This meta in 3 parts will go over the good, the bad and the mindboggling. My general impression of the season : excellent beginning, very meh middle, interesting ending. In short : flawed but I feel people calling it a total disaster really are not making any effort to see it objectively. So ; let's dig into the why and how.

What I liked about this season :

A story made with and for Deaf people : It’s pretty evident when watching the interviews that Winona and Lucas really really enjoyed making the season and that it offered them an unprecedented level of representation. The creators obviously did their research, working with the people of the IVT. Personally I feel like I learned so much and the clips showing aspects of Deaf culture were among my favorites. It felt like a nuanced, rich, in-depth perspective, with details like choosing to get a cochlear implant or not, the testimony evening, the sign language class, Noee’s sign dance, the different ways to enjoy music, how to speak to someone who is Deaf, etc...showing that not everyone within that community has the same story or opinion, that they’re just people with their unique challenges but shared needs, as well as the really awesome culture that is part of being Deaf. It felt really respectful and a thousand miles away from the usual miserabilistic clichés - it brought up some concern about how difficult it is to be rejected/invisible in today’s society, but it was balanced with emotions like curiosity, admiration, and awe. I came to SKAM for the representation but I absolutely love getting educated about groups I’m not part of and I feel this is truly where the season shines. Learning from Deaf fans was also hella interesting.

A complex discussion about disability : A central plot point, and one of my favorites, was Arthur learning to overcome his (now internalized) ableism. We see that Arthur is an overachiever and this change in his life upsets this idea of the perfect life he has in mind. He repeadedly lashes out at the other Deaf people he meets, makes fun of sign language, underlines how he is ‘not like them’ at the beginning because he is still clinging to his own self image. We can understand where this comes from when we see how condescending towards any sort of weakness, and focused on performance over empathy his father is. But as he learns to meet actual Deaf people and see the diversity and beauty of the community, he learns there is no shame in that sort of difference and learns to stand up for himself and that was amazing to see. Another important part was Laura and Melchior’s inclusion and beyond being very funny, they highlighted the idea that although disabled people have different, sometimes competing needs, they also have things in common, and that deep wish of not being discounted/othered/excluded. All the disabled characters this season were complex, real people, not there just to teach others a lesson or inspire them or be pitied or the butt of a joke, and that is so sadly rare nowadays. Even though some bits did feel a bit like a PSA, I feel like overall it was very well done.

The politics of desirability : A theme running through the season is the idea that who we are attracted to is socially constructed and can really be biased by our prejudices. Alexia expressed this idea (albeit clumsily) in the bar scene early on, and this came back when she talked about her insecurities. This was also present in Laura’s insistence that disabled people have certain needs like everybody else. And finally, it’s present in Arthur’s own struggles - his fear of not being able to sleep with his girlfriend with his hearing aids, and his own difficulties in seeing what is happening with Noee and him saying ‘she’s deaf’ to the question ‘is she beautiful’ even as he is obviously into her. Our society gives us this incredibly narrow set of criteria for who is considered attractive - thin, white, able bodied, etc - but people’s actual real patterns of attraction and finding beauty are, when you set those prejudices aside, and see the beauty of people for who they are and not how well they fit a box, so much more broad and generous and diverse and I loved how this season highlighted that.

Technical excellence : God, the cinematography this season was absolutely off the charts, it makes me wish they could redo previous seasons with this amount of style. Shots like Arthur under the shower, or that party at the Asso with the blurry dancing, the shots in the pool, or the ones from the farm episode...INCREDIBLE. The sound editing was used sooooo well to put us in Arthur’s shoes, it was a wonder and I really felt how intense the change must have been for him because of that. And the acting is impeccable. You can really feel how well these actors know their characters by now, they have total mastery of their portrayal. Robin did an awesome job with tough scenes, but just...everyone was on their best game really.

A nuanced portrayal of abuse : Arthur’s relationship with his father was thouroughly heartbreaking, and it felt very real. I am very grateful that they didn’t try to redeem him - it’s important to show that even if you are trying your best, some people are toxic abusers and the best thing you can do is take your distance. I felt it right away, in the subtle way he was dismissing and belittling his wife and son, in the ways he was asserting his control over them, and I wasn’t surprised at all when more came out. It surprised me in the beginning that so many people were arguing that the father was caring, just strict - I feel like the signs were so obvious but I guess that’s the point. Abuse is a pattern that becomes visible over time and abusers can be perfectly charming and reasonable to people who don’t know what it’s like. Growing up with that is isolating and terrifying and it does awful things to your self esteem and your capacity to be in tune with your feelings. We can see that when Arthur basically defends his father’s actions because he is still so eager to have his love and placate him. Arthur’s behavior did not come from nowhere and it was inspiring to see him grow past that and realize he did not have to perpetuate the pattern and make his own choices. Also, his relationship with his mom was very sweet, supportive (her smoking weed with him was awesome) but complex - the way he was mean to her sometimes, condescending bc of her lack of studies ; the way she blamed herself for not seeing sooner - she must have been subjected to Patrick’s more emotional abuse, and so she will probably feel like she should have reacted sooner or known and that’s like...painful ugh. This whole thing was so raw and real. And it was incredibly important to see the nurse and her Jerome - adults, with medical knowledge - see Arthur’s situation and tell him that sometimes you just have to leave.

Highs and lows of friendship : Basile !!!! I was not a fan in s3 but the great aspect of POV shift is allowing us to see some characters through a different angle - even though I think Basile went through a lot of growth too. In Lucas’s season he was meant to be the annoying gross overly straight guy as a contrast - but for Arthur he is this devoted friend that is so open and sincere in his affection that his awkwardness comes off as endearing instead. You really understand why those two are friends : Arthur is smart, sarcastic, he can help Basile with social awareness and hype him up, but he’s also so painfully guarded and finds it hard to express emotion, I think, and it makes sense he loves Basile’s spontaneity and big heart. Meeting his grandfather was also so funny and endearing, as were all the marks of more physical affection he wasn’t afraid to show Arthur. I think having a friend like that is part of what allows Arthur to finally stand up on his own - whether against his father or deciding he needs to be single to figure himself out. As for the Gang in general, I loved the moments where they were all happy together (the early graffiti clip is truly one of the shining moments of the season for me) but their later spat is also quite understandable to me. I find it very realistic that although they are trying their best to accomodate their new friend’s disability, they’re going to mess up, that’s part of the process. The most important thing, I think, when faced with someone who is different from you, is to engage with it (respectfully) - ask questions, not assume. And communicate ffs. I also really liked those moments where the Crew and Gang came together, it gave this big end of high school vibe where all the squads merge and there is this feeling of having gone through an ordeal together that makes everyone closer. There were also so many funny moments that were absolute gold (the wheelbarrow ! the dinosaur balloons ! Imane getting attacked by chickens ! Emma and her horse! ).

Arthur on his own : I liked the more introspective moments we got this season. The successive alarms while he was angsting about his hearing coming back were such a clever way to put us in his perspective - there is already a lot of stress linked to a morning alarm, isn’t there ? We all know that moment in the morning where we don’t want to get out of bed and face the world, and taking that emotion and adding Arthur’s absolute stress at realizing that this change is lasting, it was really effective. Arthur’s link to water, as a symbol of another world where sound is much more diffuse, is quite interesting too. And the moment in last episode where he puts his glasses back on, too, as a more obvious sign of a disability that is very socially accepted and that is just part of who he is, just as his hearing loss is. We also got a moment with the bench of loneliness that was an interesting parallel with s3. (I love how the Buttes-Chaumont parc has become this double symbol in Skam France of both loneliness/alienation/putting on a mask and growth/return to authenticity.) And I like that he ended up the season single and deciding to figure himself out. It’s a big aspect of his character that he has spent too much time trying to conform to expectations and that he was super walled off as a result, that he hurt others without realizing, that he found himself boring, that he didn’t seem to open up to his friends, etc...and in the end he is a lot more open but he also knows there is a part of growth that being in a relationship cannot bring him. He can’t use women the way his father did. I respect that a lot, honestly, it’s what saved the end of the season for me, that they didn’t end up putting one girl above the other and made it about Arthur being lost and needing to find his way on his own.

The tornado and the sunshine : The new characters were awesome. Her role in the plot set aside, I really liked Noée as a character concept. I think Winona was awesome, and I liked Noée’s mix of warmth and feistiness. I like that they let her be angry at the way the world treated her, and compassionate at the same time. Also her headbutting that guy in the club that didn’t want to listen to her was !!! iconic. I loved her style, too, and that dance was so beautiful. Camille was a great addition to the team too, Arthur was lucky to find someone that patient and his dry humor but sunny disposition were great too. It was cute to see him with Mika as a couple of gurus - that we did get a Deaf/hearing couple was a good addition to the season, I think - and I hope we’ll see both of those new characters next season, too.

Queen Alexia : She was definitely one of the characters I had the most emotions for this season. She’s just so cool and her perspective on life is just so mature and interesting, her acceptance of herself and others so inspiring - a lot of the early clips with her were adorable. I loved how supportive she was in such a creative, playful way - that game she made for Arthur, the boards she brought, etc. The moments she talked about her insecurities, if bittersweet because of what happened later, remains one of my faves from the season. She was so beautiful framed by rainbows (also apparently that’s her sign name ? Amazing.) And the moment where she sings was just...oof. She was really brave and strong to be able to do that, to express her emotions and hurt in such a public, dignified and creative way. It was a moment of reckoning for Arthur, putting him on the spot and recognizing how much he hurt her, but it was done in such a graceful way - the way she signed to signal her acceptance of his Deafness, the reminder that she loves him and won’t be able to forget that immediately, and a rejoinder to recognize his feelings towards Noee, etc. She wasn’t perfect (organizing that meeting without asking really pushed it a bit too far - you can’t rush someone else’s self acceptance) but she was just ...really good.

Elu as an established couple : One of my biggest reproaches to s3 is that they didn’t give us enough fluff after all the drama (time constraints, I know, etc.) But this season they really delivered. And listen I know some fans love to blather about fanservice but fuck it, I just love seeing a healthy domestic queer couple on screen !!!! It’s just so bloody healing, because they feel real and in love like nothing I have ever seen on screen before. Maybe because so often straight actors are so awkward at playing queer intimacy and they’re really not. Seeing them in their new appartment was like a pure shot of serotonin - morning croissants ! fairylights everywhere ! but I also liked that it wasn’t too fluffy one note. We can still see that Eliott struggles with MI, that Lucas has some insecurities, but yet their devotion to each other is still as strong, as in “he’s my boyfriend and I love him.” It was a hopeful note throughout the season, Lucas being persistent and devoted all through the challenges of being with someone who is mentally ill. Also, I really liked Eliott’s role this season, as a sort of...provider for the Gang ? Getting them a van, bringing them to the cool graffiti place, making this fresque for them...you can feel he’s not 100% part of the gang because he’s older, already in college, etc, but at the same time he has sort of an observer role that can give them things no one else can. I feel like Lucas confided in him about the troubles they were going through and Eliott can empathize with being treated different, the fear of losing your friends...so Eliott helped them in his unique way, through art. And him having this new secret place he can bring more people to, and so full of color and sharing his art with people and !!!! God I’m emo he’s just my fave character ever really.

The pressure of the future : Listen the last year of high school in France is horrible, there is the pressure from the BAC + half the people are passing entrance exams and doing interviews for the stuff you want to do later and it’s so stressful and I’m glad they touched on that at least a little. Emma really embodied this theme this season, of the pressure of not wanting to know what you want to do later. It’s really when you realize that they’re all so young and being asked to make such big decisions for their entire lives is really sort of fucked up, and I think her being there is a way to dedramatize not knowing, and gives Arthur the freedom to see he doesn’t want to be a doctor ; I liked the apt comparison with Imane’s passion for medecine. I wish we’d seen more of Arthur figuring out his real passion (did he make that painting or what ?) but I appreciated this storyline.

Overall, I think this season was full of excellent moments - either funny, heartwarming, heartbreaking, or edifying - and it provided some much needed quality representation for the Deaf community. In that, and having educated a lot of people, it is at least somewhat a success. However, as a whole, it did not quite come together for me, which is what I will analyze in my next post.

#skam france #skamfr s5 #skam france meta #my meta #arthur broussard

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pomegranate-salad · 5 years

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Seeds of thought : DIE #1

Been a while, uh ? I missed you too. But before we start, we have to adress the horrible, no-good, terribly misguided elephant in the room : I am currently working on solutions to keep posting my work outside of tumblr before it pulls the carpet from under us, but nothing concrete yet. As soon as I have my new internet home, I’ll let you know. In the meantime, I’ll keep posting here. If all else fails, I’ll migrate on the Wicdiv Discord server. I’m Pom there too.

Alright ?

Alright.

Let’s do this.

IS THIS THE REAL LIFE ? IS THIS JUST FANTASY ?

Metaphors are like elections : the quickest way to ruin one is to call it early.

Even now as I’m doing this write-up, I am kind of hesitant : do I actually want to pick apart this debut, or do I want to let the rest of the comic do it for me ? There has to be some equivalent of a love bubble for art, this fleeting period before you get one of those “oh… that’s where they’re going with this” moments, before potentiality unravels into concreteness, before, like in the garden of Destiny, you look behind you and only see one path leading to where you are despite seeing so many crossroads ahead.

That’s why, paradoxically, beginnings are also the most liberating moment to write about stories, because there is a round 100% chance that you will get it wrong. The further the story goes, the least margin of error you have, and you find yourself in a situation where you HAVE to get it right, because you actually have a chance to get it right. But now ? I do not know what DIE wants to say. Not yet. If I did, there would be no point for me in reading it, and if we all did, there would be no point for them to write it. Of course, even on first read, I feel like I might know what the master word is – just like wicdiv’s was “Death”, DIE’s is “Time”, which is nothing else than the slowest sort of death – but this master word is, at best, a key without a lock. The door is further down the path.

So let’s talk about DIE – not to decrypt it, not to crack it open, not to judge it even, but maybe simply to enjoy it.

The first thing DIE is, is a voice. It emerges from the intricately painted pages in its concrete boxes of black circled with red, in a way that you almost resent it from breaking the perfection of the page, what with its eye-grabbing crude colours. Unsurprisingly, given Cowles’ always excellent work, the content of the text soon comes to match perfectly this first impression. Dominic, our narrator, is dark, jaded, and he knows how to grab his audience. But on the other hand, he’s never being all that smart and elaborate. He’s a big box of black. Even his own hindsight, the way he looks at his younger self with this mixture of indulgence and pity, is nothing that original or ground-breaking : it’s basically the way any adult might look at their own self-important teenage persona. And of course, nothing about that persona is really gone : Dominic, as an adult narrator, is still the self-important, quiet kid with just enough self-hate to balance out feeling better than everyone else half the time.

In fact, every main character in this first issue is the sketch of their own teenage stereotype, whose attributes are listed out by Dominic on our introduction page. There’s a transparent parallel between that page and the spread a couple pages later where each character introduces their game persona. Dominic’s description is just as much of a character sheet as the ones they hand out to Sol. And by way of that parallel, there’s of course the one between the cast’s game personas and their real life personas : the character they are playing, half-consciously, half-unconsciously, just enough to believe it, just enough to call it their identity. This was already a theme in Wicdiv, and it’s not surprise it shows up again here. Between the characters’ former selves, their current adult selves, and their RPG avatar, DIE sets up a game of mirrors, almost daring us to find the real Dominic – or is it Ash ? – the real Angela, the real Isabelle.

Does fantasy escapism allow you to be someone else, or does it do the opposite, and brings you closer to yourself than you’ll ever be in real life ? That’s a question asked by the text, but also by the art. Now there’s nothing I could say that wouldn’t undersell just how gorgeous Hans’ art is, but for all its merits, it’s actually its one limitation that hit me the hardest : its inability to evoke the mundane. The issue is pretty clearly divided between a flashback portion in sepia hues, the real present in bleak red, blue and black, and the fantasy world with its warm tones. The first two parts are designed to come in contrast with the third one, but for all the supposed triviality of those scenes compared to the fantasy world, nothing in the way those parts are designed resonate as ordinary. Everything is bathed in light in such a way that everything always seems to be moving, from the complex hues of the evening skies, to the shadows on the characters’ faces. The smiles are big and toothy, the eyes are either glimmering or deep and sunken. At every moment, everything in the art works to indicates that something is happening, something big. Hans’ art is out of this world, in a very literal sense : it is somehow unfit to depict our reality. And so when we finally move to the fantasy world, it’s as if pieces finally fall to their righteous place and the world is finally set right side up. Everything about the way DIE depicts our reality feels deeply unreal. And because meta is never far when Gillen is writing, this probably says something about the way we think of comic books, and all escapist media.

The entire issue is building up to that fall back into the fantasy world – to the point that I thought they’d make us stew even longer for it – but we’re not the only ones intently waiting for something that, from the very beginning of the comic, is ineluctable : the characters, too, were waiting. They were waiting surrounded by characters who feel like NPC – we never even see the full face of Dominic’s wife – waiting while marrying women who look like their high school boner and having jobs serving as constant reminders of their past. They were waiting to the point that the first sign they get of the fantasy world of their youth, they immediately all show up to the reunion, and play around something they should know damn well is going to drag them back to it.

That’s not to say any of them “wants” to go back, per se ; such is the nature of trauma, that you want to get away from it as it prevents you from totally moving on either. DIE’s characters are stuck in that in-between, as if none of them had ever really left the fantasy world – and by extension, their teenage years.

This is also why I’ve been uneasy with the reviews of DIE out there linking its storyline to “nostalgia” ; for something to be about nostalgia, that thing has to, you know, be over. But none of the characters is even close to being done playing the game they were playing in their youth. And that for the fantasy murder game as well as for the game they played in reality, the game everyone plays. As teenagers, they push each other around about elitist fantasy books. As adults, they pretend not to know what “woke” means. The codes switch, but the game is still the same. Maturity can be a persona, too. They lie. They deflect. They follow their character sheet. And that’s fantasy for grown-ups.

That’s not to say that these characters aren’t genuine – as I’ve said, it might be precisely because they’re constantly playing that we can get a better picture of who they are – or that we can’t connect with them. In fact, one of the many feats of this first issue is how immediately touching each of these characters is, both in their efforts toward pretend and genuineness. Well, with the one exception of the character who both seems the most dedicated to the game and the only one who doesn’t seem to be playing at all. Even as a teenager at the beginning of the story, Solomon is that one kid who seems uncomfortably comfortable in his role as the star his friends revolve around, vying for his attention. When he drags his former friends back into the game, is he looking for revenge, or has his world simply become boring without the rest of his party to move the story along ? This is where I should mention that the tabletop RPG hobby is one that is completely foreign to me – it’s just not my scene. And I think part of the reason why is that I’m too fundamentally selfish in that regard to share my imagination with other people. Playing RPGs implies losing part of your control over your own stories. Again, I have no idea how RPGs are supposed to work, but being both the gamemaster and a player strikes me as a fundamentally selfish move ; the move of someone who expects his friends to play their part perfectly, only giving them the illusion of control. For a RPG-themed fantasy, quite a fitting portending villain.

If I can be honest : I hope he’s our villain. I hope there isn’t some dark lore that’s manipulated all of them, and that it’s really just the story of how some teenage bullshit got gloriously out of hand. DIE’s premise is a simple one, just like Wicdiv’s premise was a simple one. But two hundred and a half plot twists later, it can be hard to remember just how fucking awful people can be to each other even when they’re not under the influence of some millennia-old force working in the shadows. I hope we never learn where the dice come from. I hope we never get an entire arc explaining how the fantasy world came to be. I hope it remains just as inexplicable as real life is, with its posture, its pretending, its own unreality, its game you can never, ever stop playing.

And that’s DIE so far. I loved it. How does it compare to the first time I’ve read Wicdiv ? Beats me. The first time I’ve read Wicdiv, I majorly skimmed through it thinking it wasn’t for me – just like comics weren’t for me in general - until maybe issue #11, when I finally slowed down and started again from the beginning. First impressions. I was wrong about Wicdiv, many times, and there is definitely ways in which I am and will be deeply wrong about DIE. And I like that. So join me, if you will, in future write-ups of DIE, where we can be wrong, be surprised, be amazed, be disappointed also, and have ourselves a party.

#diecomic #seeds of thought

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why-this-kolaveri-machi · 6 years

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Notes on SPN 14.02

So! I saw 14.01 yesterday, which was for the most part, surprisingly, a blast, and since I have a bit of free time today I thought I’d keep a hold of the momentum and watch and liveblog 14.02 as well. I’ve heard it’s one of those Buckleming plot-a-paloozas, but I’ll try my best to provide semi-reasonable commentary instead of incoherent ranting.

Right. As always, typing this post up as I watch. SPOILERS for the episode ahead.

1. We start with a recap of last season’s finale, and Show, do you really want to remind us this many times about that wire-fight?

1.25. Show’s lore regarding possession has been dizzyingly inconsistent, but the more I think about it, the less sense it makes to me that Nick is alive? Because Nick couldn’t actually house Lucifer for very long in s5—he was deteriorating, which was why Lucifer needed Sam so urgently. The last we saw of Nick, he was dead/dying in a dingy room in Detroit, when Lucifer jumped ship to Sam. Even if Lucifer assumed Nick’s visage in the Cage and afterwards when he was brought back, Nick-the-person with Nick-memories and Nick-feelings isn’t there anymore.

1.255. So what does this mean? Like, if this was explained away sometime over the last two seasons--I’m very sorry, I really wasn’t paying a lot of attention to large chunks of them—please let me know. If there’s no explanation, then has Lucifer disappeared inside a Nick-construct? Did he use a loophole to escape the worst of the Archangel Blade right at the moment Dean plunged it into his side? Lucifer was “human” for a while in s13, iirc. Did he have enough “human” to hide behind and recover? And has he filled that human with the memories/personality of one of the humans he knew best? Is it because he spent centuries assuming Nick’s body in the Cage that he’s most comfortable being him here?

… I don’t know. Maybe I’m missing something obvious, but, hey, it’s fun to speculate.

2. We start off with people artfully tied up in an artfully derelict church illuminated artfully by artful lightning.

… *groans* I hope we aren’t getting a torture scene already.

2.25. Well, Michael’s certainly chirpier than he was last episode.

2.5. Is he trying to make new angel minions, is that it, by feeding them blood and his grace? Leaving aside the lack of creativity in the mechanism, the whole thing kind of makes a weird sense. Michael is looking for those with purity of purpose—among religious leaders (and refugees, apparently), angels, and then finally monsters—and rejecting those ‘poisoned’ by nuance and experience and supposed sin. After all, no being whose wants are even slightly more complex than ‘food’ is going to be a perfect follower.

It also plays into his assholey, self-righteous personality and, well, god-complex.

(Dean would’ve appreciated this quest for pure purpose.)

3. There’s a kind of sitcom-y vibe to this little expository scene: Bobby talks shit about angels only for Castiel to walk in with a quirked eyebrow; the group talks about Jack and Lucifer only for Jack to walk in and go, “hey, you talkin bout my father again?”

(these are the tiny ways I feel SPN is at cross-purposes with its own theme of ‘found family’. Everybody’s obsessed with blood relations, to the point that Lucifer and Jack are constantly referred to as ‘father and son’ when there is no need to bring that relationship up. Last year, even Castiel referred to Jack while talking to Lucifer as ‘your son’ without any prompting from Satan. Words are so powerful, and so revealing.)

3.45. Castiel “as you know, Bob”-ing is hilarious. Oh, Buckleming.

3.5. Um, not to dismiss or compare Castiel’s considerable trauma at the hands of Lucifer, but is anybody going to acknowledge even once that Sam, who appears to have taken the brunt of caring for Nick so far, is also going to have trouble looking into his abuser’s face??

4. Nick continues to make no sense to me.

(I like little touches like Castiel telling him that he needs to remind himself to eat.)

4.5. I kinda like this scene, sue me. It makes sense to me that Nick would obsess over and over again about how he could’ve let himself say yes to Lucifer, although Lucifer is as old as time and had all the power in that situation. The ‘monster’ bit is a little too on-the-nose for me, but I like it. Really drives home what an intimate, horrifying violation possession is and how scarred and twisted it can leave the survivor who spirals down a well of undeserved guilt and self-loathing.

I wish Sam was the one talking to him now, or was at least present. He’d talked in the previous scene about how Nick was only ‘housing’ and deserved a chance to rebuild his life, and that hard-earned generosity of spirit would’ve been a balm to all three of them, I think.

5. ETA on the TOD, Bobby? *sporfle* Seriously though, I love this role-reversal: usually it’s Bobby who’s rolling his eyes at SamnDean’s eff-bee-eye shenanigans.

5.25. Ah, but where this Bobby has become an expert now is in telling the difference between smiting patterns!

5.5. I wonder if trying to appear non-threatening is just Sam’s default whenever he meets with, uh, ‘civilians’.

6. I really, honestly hate that the Bunker just happens to have ‘lore books’ on whatever the hell random question they’re having that day. I just kinda hate the Bunker in general, now that I think about it.

6.25. But doesn’t that ‘human component’ (lol) make a Nephilim strong enough to take down even archangels?

6.5. As pep talks go, that wasn’t bad. A few notes:

a) there’s an earnestness to the words that I’m sure that Castiel learned from Sam.

b) I think this is the first time that Castiel—or anybody—has referred to the events of 8.23 as “The Great Fall”. It’s interesting that it’s already gotten a name among angelkind and that Castiel would call it that, given how close he was to the events that led to it.

c) I want to both laugh and cry at Castiel’s assertion that Sam and Dean were there for him after he lost his grace. He was mostly left to fend for himself, obviously, but there’s no space for that in a pep talk.

d) Sometimes it’s easy to forget that Jack is actually just only a year old. Asking him not to dwell on something so… immediate is a tall ask.

7. Ok, so that was a nice snappy little counterpart to Lucifer-talking-to-Sam-in-the-mirror from the s5 finale. I like how Michael is blunt and matter-of-fact while Lucifer relished in the moment, bragged about how he’d had Sam’s number all his life, and seduced him with violent revenge. This is nice.

I don’t know, guys, I’m really enjoying this episode so far!

8. Sooooo Lucifer is residing in some subconscious layer of Nick’s mind? Is this PTSD shaped by his possession? Is Lucifer bleeding through his own construct? Are we going to find that it was actually Nick who killed his own family? (I think we are.)

8.2. Castiel looking for residual Lucifer in Nick reminds me of when he was doing the same for Sam re: Gadreel, and that reminds me of Dean’s ‘teen mom’ joke from that episode and now I’m pissed off.

8.5. Nick is fascinating, but is he fascinating enough that I care about his little revenge sub-plot? Eh. Jury’s out. Plus I just can’t stand the actor anymore

9. Sam’s just kinda there to move the plot along. Give him some more character moments, episode!

10. Michael reminded me of Dean in the scene with the werewolf. I’m really not getting a capital P personality from Michael, though that may be due to a personal choice. Or maybe because Michael was never a distinct character to begin with, and this is far more noticeable when Ackles plays it and ‘Dean’ threatens to take over any minute.

Or going meta for a second—maybe Michael’s deliberately infusing some Dean into his persona. Possession isn’t simply putting a thing inside a box: both entities are influenced and informed by the other, but only one has all the power.

11. … ok, so my interest in this Nick subplot is rapidly decaying. Nick did it. He killed his family. It’s not a mystery.

11.5. The emotional dynamics of this scene… checks out, actually. Of course Nick is projecting all his rage on Castiel. And of course Castiel regrets destroying Jimmy Novak’s life the most. More than toeing the party line and being instrumental in almost bringing the Apocalypse about in s4; more than releasing the Leviathan; more than trusting Metatron in s8; more than killing his brethren, who’ve tortured him back and tried to kill him on more than one occasion. But Castiel has been both angel and human—both possessing and being possessed—long enough that he’s intimately aware of the devastation it leaves both within and without. And there are no excuses for the way he and other angels have done that damage—so carelessly, so casually. Even the most well-intentioned angels are deceptive and manipulative and give not a second thought about their hapless vessels. It’s a sign of Castiel’s growth and compassion that he recognises his responsibility in this and that he invokes Jimmy’s name with both reverence and regret. In all this shouting and crying that Show doesn’t acknowledge the deep-seated trauma of possession survivors, this is actually a great moment.

12. That werewolf leader looks familiar. Has the actor been on SPN before? He kinda reminds me of one of the leads on Suits.

12.5. That’s a lot of clunky dialogue, but Michael is basically confirming what I speculated in point 2. Cool.

13. How Jack managed to get away and find his grandparents is never explained, but that’s a familiar Buckleming trope—characters are put together in a scene without any regard to how it might connect to other scenes or how/why those characters might’ve gotten there.

13.2. That said, it’s kinda poignant that Jack, having lost his angelic powers, is now trying to understand the human side of his heritage. He’s trying his best to adapt to his situation; this one year old kid is more well-adjusted than most of the adults on this show.

13.5. Well, holy shit, Jack talking about Kelly to his grandparents is just… making me feel emotional in a way this show hasn’t made me feel in a long, long time. This Calvert kid is good.

13.6. It is bizarre that Kelly’s parents are mostly ok with not knowing Kelly’s whereabouts for over a year—I don’t think we ever found out what position exactly Kelly held in the President’s office, and I can picture them in a bit of denial by telling themselves the reason they haven’t heard from Kelly is because she is in the middle of super-secret government work. I don’t know! But it’s just about handwave-able though, and their scene with Jack is worth it.

14. Honestly, Castiel, how did he travel so far and for so long without you noticing? So much for “Don’t worry, Sam, I will babysit this defenceless creature.”

(Speaking of Sam, wheeeerrreee’s Saaaaammmm)

“I suppose there are worse ways to be human than to be kind.”

“Have you heard from Sam?”

I LOVE YOU, JACK.

14.5. No, actually, Dean wouldn’t want it any other way. He said as much when Gadreel took over Sam completely back in s9.

15. Shoo, Nick.

16. FINALLY MORE SAM. With only like 4 minutes of episode left. What, Show, did you think you spoiled us too much last episode with all that glorious, glorious Sam content?

16.25. And finally a bit of action! The rapid-fire editing is making my head hurt, though.

16.5. Soooooooooooooo Dean’s back? Obviously Michael is playing a long game here, but it says something about the show that they can’t keep Dean away for more than two episodes without getting the shakes. I honestly miss Sera Gamble and her desire to rattle the status quo: in s6, she kept the so-called ‘real’ Sam away for half the season, which gave us imo some of the best storytelling, characterisation and acting from both Padalecki and Ackles in the entire show. In s7 she took away all the Winchester markers: the Impala, weird motel rooms, Bobby’s house. Of course, after she left the show settled back into a familiar rut (substituting Bobby’s house with that thrice-damned Bunker). I wish the show would take risks with these two again. s9 and the beginning of s10 were so very promising but there was no follow-through.

I guess they want to MotW fillers for a few episodes and that would be weird without SamnDean SamnDeaning it in the Impala, but Show, why don’t you just say ‘fuck it’ and try weird on for size? What do you have to lose? I mean, seriously?

17. Nick’s the murderer—called it!

18. This wasn’t terrible, you guys. 95% of the episode was just people sitting around having conversations, the dialogue was clunky, ideas derivative, scenes progressed without any rational links between them, the pacing was wonky, and there was too much exposition. But the emotional beats were solid and the set up is reasonably intriguing. I’ve seen far, far worse BuckLeming episodes.

Pacing is a real issue in this season, though. And Michael is not remotely intimidating as a threat.

#supernatural #season 14 #spn spoilers #sam winchester #castiel #michael #jack kline #meta #unpopular opinion: this ep was... pretty ok

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whifferdills · 6 years

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HERE WE GO, THE LONG WAY AROUND: DW Xmas special 2017 les go

we saw the Hartnell-->Bradley effect as a teaser p early on, but, janky as it is, it really does work. and it's a giant This Ish Gonna Get Meta signpost, which i enjoy

River's Booze Cube in the TARDIS coming back i'm

right that's a straight line from "Deep Breath" to here. 'you're gonna want a drink, dude'

One, here, aside from what we're gonna go over in a later bulletpoint, feels like - more EU inspired, than anything? they feel like Shitty Nervous Baby Asshole Theta, faced with finally having to commit to stepping out into the world. i've never been super into One Doctor Era in terms of like. being really into it, and i do have a variety of EU-based Shitty Nervous Baby Asshole Theta headcanons, so i like this. ymmv

fuck do i love two or more Drs in a room being jerks to/ begrudgingly admiring each other. this shitbird

the guitar being the only dusted thing. gross college-student 'sniffing to see if the hoodie passes the smell test' 12 headcanon confirmed

THE FLOOF MULLET

sorrynotsorry PCap continutes to be weirdly hot throughout this episode

'shitty baby Thete made the first sonic at the academy' headcanon UNCONFIRMED. unless One's jus playing it cool, like, that dumb thing? hah hah never heard of it

god i do not understand this plot at all but it's Moff in full fuck-off mode so. les go

i love League of Gentlemen but have never really enjoyed, like actively liked, Mark Gatiss' contributions to DW. but i like him here a lot. it's a heartfelt, understated performance and kinda anchors the melodrama of the Dr(s). if he coulda poured that out previous a lot of episodes of New Who would be better

"what do you mean, world war one" fuck what a line

right i get why people might be pissed off at One Dr being obviously a dated piece of shit here, but questions of canon aside: DW has been total fuckin shit, like a lot, it's fucked up bad and frequently (and recently) and i'm entirely ok treating this as a meta critique

fuck this building is the same one from Missy's "imagine the Dr" speech. what does she know

i know Moff loves his doubles/copies/etc but did he need put that on Bill cmon that is hinky af

tho seriously i love these two nerds and i need more 12 & Bill in my life

"long story short: i totally pulled" i'm

wouldnt all these Bill n 12 scenes been better if Moff hadn't needed to do the whole pLoT tWiSt ThEy'Re A cOpY thing. i do love Moff. but. why. why this, here now

Gold went fairly old-school Spooky Synths before returning to his Classic Themes later and like. i'm more of a fan of his work now, than i have been before, but i'm okay with him being replaced with someone more inclined to do something other than what we've been hearing since Eccleston.

the fuckin sunglasses. this dweeb

like i do honestly love moff's sort of, short form spec fic, bizarro, 'hold your hat it's about to get wild' style. outside of mainstream SF i do prefer stories that don't explain, that don't world build, that just throw some bullshit at you and expect you to understand the emotional resonance. and i do love this story as a character piece, as a sort of...ambient? intentionally-confusing thing. but i also think it bit off more than it could chew, and it fucked w/ tropes in a way that kind of highlighted why you can't just apply any trope to any character, specifically any minority character, and have it come off how you want

like this episode reminded me what i'll miss abt Moff and what i...won't

Pearl tho fuck i have missed her. and Bill. Big Finish, please, please do me a solid. Bill Potts, tell me what to do

"will you put that buzzing toy away" THIS doof

'the Doctor of War'/'to be fair, they've cut out all the jokes'. i'm. One's face, and how it gets subverted later on

the whole window-size thing

NEW VORTEX SO FRESH N SO CLEAN

fuck tho 12's increasing levels of anger and shame at what they'd been before leads up SO well into the eventual Whittaker

facehuggers what

seriously what the fuck is this plot like i get the plot isn't the point but i do not understand what's happening with Testimony thing like

im drunk so uhhh

~fear makes Drs of us all~

this story would have worked so much better minus the Twist abt the shapeshifting whatevers. Bill's already a space goo, why. why add more things, when the dynamic between 12 n Bill is already so complex

the dr's weaponized self-destruction has always been such a Thing but how offhand 12 is about it, like. fuck dudes. #relatable

RUSTY. all the birds come home to roost

i'll probably come back to this later but DANG the camera and editing and coloring in this are N I C E

"Dunno why Good wins over Evil so i did a Le Both Sides survey" One u r fuckin lyyyyyiiiiiiing don't let Space Reddit lead you astray

oh god this is "Hell Bent" this is Clara on Trap Street this is

"The real world is not a fairy tale" was THE moment i knew Clara was gonna make an appearance

"I don't really know what to do when this isn't an evil plan" both lmao and. i love what this episode is trying to be. not an evil plan, just. circumstance. life. shit happens.

my kink is Dr Who taking responsibility for their shitty short sighted actions

FUCK HE WAS A LETHBRIDGE-STEWART YOUSE WERE RIGHT

please feel free to shake up your headcanons accordingly

the christmas armistice, ok, i teared up. iirc PCap did a spoken word performance of a letter about that, i wonder if there's any direct connection there

"the rug was crap anyway" THIS IDIOT BOY

and dang will i eternally love PCap's physical, specific performance of this role. the absolute exhaustion mixed with fuck-it whimsy and a weird, uncomfortable intimacy, it fffffucks me up

12 pulling their collar up like. this small vulnerable dying boy. my whole heart

Bill repaying the Dr for the photos of her mother - and how, 'zactly, did she come across enough of a Clara to do this like i'm not saying Bill/Clara is canon but

OKAY THEY'VE GOT THEIR MEMORY BACK OF CLARA DELIVERED VIA A KISS OK OK OK

OK THIS IS OK IM OK EVERYTHING IS FINE

Twelvedole is also canon. Whom - the fuck - glass nipples?

please let this boy take a nap

oh it's. the TARDIS is 13's ~First face~. they're not doing this alone, they're doing it with their one true love. 'time to leave the battlefield' yeah

this silly old universe. basic stuff first:

ok yeah that "Heaven Sent" theme is good

mmmmlove the decision to have a lot of the regeneration be JWhit, interspersed with PCap's trademark eyebrows. it pings...something, in my brain, that struggles with gender

the ring no

tiny wee JWhit in 12's outfit so...joyous and fucked up, like they always are. looooove it

they're not gone, they're just someone else now. the cycle begins anew. aw, brilliant

this is such a small, sweet, sad story, which imo is why the basic Moff Bizarro doesn't fit. plot aside, i quite like this one. the fear of death faced and overcome; yourself and your ethos being more important than the shape you take; the importance of kindness, and the possibility - if you try very hard - of a fairy tale. good shit.

laugh hard, run fast, be kind. Doctor, i let you go

#dw spoilers #incoherent yelling

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dantereviews · 6 years

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Manga Review: Bakuman

8/10

Bakuman is the story of Mashiro Moritaka, a talented young artist and Akito Takagi, an extremely intelligent writer, as they strive to achieve their dreams of becoming a pro mangaka duo and rising to the top of the manga world in the famous magazine ‘Shonen Jump’.

Considering that this manga itself ran in Jump and is made by a two-man author/artist team, its basically the most meta manga ever created. And the cherry on top is that the duo behind Bakuman, Takeshi Obata and Tsugumi Ohba are the same duo behind the towering monolith that is Death Note. As someone who not only enjoys manga, but has an interest in the behind the scenes production of it, Bakuman hit all the right spots to get me very interested. And I am glad to report that it really delivered.

Reviewing Bakuman is kind of difficult. Part of that is because its a long journey at 176 chapters, so trying to go over it all is a big job. But another part is that the subject matter is so different to most manga that it really stands out. To use terminology from the text, I’d call Bakuman a ‘non-mainstream mainstream battle manga’. Its about the two leads making manga, but functionally its about their battles with other authors to become the best, especially their main rival Niizuma Eiji. Bakuman manages to perfectly capture the spirit of shounen: pure hearts striving to achieve their goals - but without any violence. Its a pretty refreshing change of pace from the regular battle series and psychological thriller that dominate the market.

The tone is a good place to start with my analysis. As I said, its pretty light-hearted. The story follows two straight-forward, determined individuals who just want to create great art and show everyone their potential. The manga is quite funny, always throwing in little gags and funny side plots to keep things flowing and natural. It also has some heavier moments, dealing with people who’re greedy or lustful but always with a sincere attitude. I think that sincerity really carries the manga because by being a straight story about mostly good people it avoids a lot of the common bad guy/good guy cliches and just keeps the good times rolling.

The characters are very strong as well. The two leads are approachable enough to root for all the way through, even if they arent as emotionally complex as some deeper series. The large side cast is also really interesting, following the other authors in Jump as they also try to make their own names. Some of them, like Hiramaru, the lazy author who just wants to take a break but is constantly manipulated by his editor into continuing to draw, and the author Takagi’s wife Kaya who is always at the studio helping out, are so much fun, and their presence is necessary to insert some more fun and variety. The series constantly introduces great new characters while continuing to focus on and grow the core cast.

And one of the coolest aspects of Bakuman is the manga inside the manga. As a series about Mangaka creating their own series, of course those series feature heavily. Its very cool to see the creation process and eventual realisation of so many amazing ideas and visuals, all of which could be made into real life manga of their own. Following the plots of the stories-in-the-story is pretty exciting alone, before even considering all the main duo have riding on how well the stories do.

I do have two main criticisms. Firstly is that despite having a great story with new developments occuring and twists you didnt foresee, the goals and strategies of the characters are uniform nearly all the way through. The two main characters very quickly decide to become mangakas and reach the number 1 spot in Shonen Jump - and then continue to chase that goal for the entire series. I still got entirely sucked into that journey, but I will say that it was a bit too monotone, and for someone looking for a deep story that goes through multiple layers this could be a big hurdle to enjoying it.

Secondly I have to criticise the art. Artwork is one of the most fundamental aspects of manga - its what you see and how you process the medium after all. In keeping with its less mature aura, the art in Bakuman is light and exaggerated. There are lots of chibi and reaction faces, and the normal art style definitely has a rounder, more gentle style than most manga. But maybe because the story is so grounded in reality, aside from having very recognisable and interesting character designs I cant say the artwork was particularly impressive at all. Theres only so many ways to make a guy hunched over a drawing table look cool after all. I think this series isnt so much about the visuals as the story, and it definitely takes second place in terms of artwork to a lot of other manga.

Bakuman really hooked me, and I ended up binge reading most of it in a short amount of time. As a manga enthusiast, it showed me another side of an industry that I really like and gave me a very comfy kind of atmosphere. I loved reading about the interesting ideas the characters were thinking up and seeing all the goofy antics they got up to. And at the same time, I admired their hard work and determination to work through setbacks and create something amazing. It isnt the prettiest or the most intelligent manga, basically the opposite of Death Note. And thats what makes it so impressive - beating out the traditional genres of manga and forging its own fun and, most importantly, interesting path to success.

I give it an 8/10 and a hearty recommendation.

#manga review #bakuman

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