#me going back to back between the comic live-action and anime be like: how do i mix this like a margarita?
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Captain of Demonic Cultivation (MDZS x TWST AU) - Jiang Yanli’s Phoenix Mountain Moment but It’s Yuuken Instead
I want to write the whole Phoenix Mountain Hunt but I have no energy to write the whole episode. So, I just write Yanli best scene. Either this or The Untamed "I used to see you as my lifelong bosom friend" scene, but the latter will be only after I have more context.
The Sunshot Campaign had passed and peace had arrived. Whispers among the streets about his brother's new unusual cultivation method, but Yuuken still stands by his belief. Both of his siblings are the only family left, thus he will stand by their side as they rebuilt their fallen House Crowley of Dawn.
It was during this time that House Kingscholar of Afterglow decided to hold a Crowd-Hunt at Phoenix Mountain, inviting all the remaining four Great House. This was also one of the few that Yuuken can attend since he was personally invited by First Lady Claudia Kingscholar, the mother of Leona Kingscholar, his former fiance. Though Yuuken could've guessed why she did that.
Even so, that didn't make walking down the forest path with Leona by his side to be less awkward. Lucky for them, there weren't any monsters around, though Yuuken guessed that it had something to do with the sound of a flute earlier.
"Looks like we have ourselves a human-size snake."
Yuuken snapped out of his thought to look at Leona. "What?"
"A monster from the southern isle." The young lord crouched down. His fingers brush away some grass, revealing the shedded green scales that were too big for Yuuken's liking. "It'll just have a height-measuring contest when you encounter it. If it's taller than you, it'll swallow you up. Looks tough but it's nothing compared to us."
Yuuken's eyes widened slightly. "Us?"
Leona glanced back, but Yuuken quickly looked away. "Surely you can take care of yourself."
Yuuken unconsciously reached for the hilt of his sword, Enma. "Oh. Of course." It wasn't that Yuuken didn't know how to fight. He had his spiritual sword and studied along with his siblings and Leona at Cloud Reccesses. But his spiritual power and experience in hunting are less than theirs, in addition to never being allowed to participate in the battlefield.
Leona was quiet for a while before getting up and started walking again. Yuuken followed with a few steps behind him.
"I can bring you to Afterglow Savannah's private hunting ground for next month's hunt," Leona said again. "You can catch many rare preys there."
Yuuken just hummed. Seemed like that wasn't the right response as Leona turned around and Yuuken immediately looked to the ground. "Not liking that idea? Don't you want to go hunting once in a while?"
Yuuken shook his head. "It's not that, but..."
"Or you just don't want to be with me?"
His breath hitched. "It's complicated." Yuuken might not be the smartest, but he understands himself. And he understand that he fancied Leona for the longest time. The two of them were engaged because both of their mothers were best friends. It was only natural for the two House to strengthen their bond. With Yuuka being born with a naturally stronger golden core, thus securing her role as the future leader of the House, Yuuken's role is to alliance through marriage. He understood that since he was little and as he grew older, his admiration and crush for Leona grew. He knew Leona had trouble expressing himself, leading to many misunderstandings like the incident that caused Jonah to get expelled from fighting with Leona and leading to them breaking their engagement.
"Is there anything about him that can make me happy?"
"You son a bitch!"
Leona clicked his tongue and Yuuken dared himself to look up. Leona wasn't looking at him. His eyes were closed and his head turned another way.
"Whatever," he said. "I wasn't going you invite you on this hunt anyway. Forget about it."
Yuuken hummed again. He had his guesses. "Please, excuse me." He turned around, going back to the path he went through, trying not to feel disappointed. Back then, even before their engagement broke, he wondered if Leona actually like being with him. But maybe it was Yuuken who isn't worth being by his side. Maybe that was why he didn't even realize the exploding cliff until Leona screamed his name.
"YUUKEN!"
Yuuken almost looked up too late as the human-size snake rose, possibly taller than the stairs leading to Cloud Reccess. Before he could reach for his sword, Jonah suddenly appeared in front of him, raising his hand as his golden eye glowed to summon his power. It protected them and attacked the snake at the same time, slicing through the thick skin as it screeched. An arrow suddenly flew through the air, hitting the bullseye right in the snake's eye. With a final loud screech, the snake fell down, causing the ground to shake. Yuuken turned around toward where the arrow came from, finding Riddle Rosehearts with his bow raised.
"What's going on?!"
Looking up, Yuuken could see Claudia, along with some of their House disciples, jumping down from her sword and quickly running toward Yuuken. Her hands were on his upper arm out of concern. "Yuuken, dear. Are you alright?"
Yuuken tried to calm her. "I'm fine, First Lady Claudia."
"Did the brat bully you again?"
"Mother!" Leona exclaimed, clearly not happy with the accusation. But Yuuken couldn't look up to defend him, not when Leona did in a way.
Claudia huffed, turning toward her son. "Leona Kingscholar! Do I need to spank you again?!"
"It doesn't matter what Sir Kingscholar said," Jonah said, positioning himself between Yuuken and the Kingscholars. "From now on, he and Yuuken-oniisama will walk on their own separate ways."
"Now see here, Sir Argentum." A Kingscholar disciple came forward, standing next to the snake corpse with a look of annoyance despite his regal posture. Yuuken knew him. Farena Kingscholar, Leona's brother. "Aren't you being too arrogant for talking to your elder like this?"
Jonah scoffed at him. "I'm trying to go against First Lady Kingscholar. But your brother has bullied oniisama several times. How am I the arrogant one here?"
"How are you not arrogant one?" Farena landed his foot on the snake's head, twisting like he was squishing some ants underneath. "Catching a third of a prey. Not even leaving us the snake. Are you purposely showing off your demonic skill?" He sighed in disappointment. "The House Crowley's upbringing is nothing more but that."
"Farena!" Claudia warned.
But Jonah just chuckled. "Upbringings? Demonic?" His hand reached for the flute that was fastened on his belt where Captain's Order previously was. Yuuken watched his brother worriedly. He knew he wouldn't hurt anyone, however, no one know how far his new power could extend.
"Jonah." It seemed that Riddle had the same thought as him as he called him, but Jonah either didn't listen or purposely ignored him. He had a mocking smile on his face as he spun his flute with one hand, challenging Farena who watched him as if he was being insulted.
"I may never bring my sword anymore, but I can still beat you any day with my so-called Demonic power." He stopped spinning his flute and his golden eye glowed as a warning. "You guys all are no match for me!"
Farena sucked in a breath. He gritted his teeth, his growls were audible, and his fists were curled. "Argentum!" He pointed at Jonah. "You're nothing but a servant's son! Don't get too cocky!"
Yuuken let out a gasp. He looked at Jonah almost quickly. His brother was silent for a second, but Yuuken knew his anger was brewing. "Oh." He chuckled. "So that's how you wanna play?"
Riddle was quick to step in first, grabbing Jonah's trembling hand that was holding his flute to avoid bringing it to his lips. "Jonah. Focus." But Jonah once again didn't listen to him, too furious to even acknowledge Riddle. Everyone could feel the air changing like the first sign of a dangerous storm as red auras trickled down his clenched fist.
Yuuken walked toward him, positioning himself in front of Jonah and putting a hand on his shoulder, giving him a gentle yet grounding squeeze. "Jonah-kun." When he didn't get any response, Yuuken pressed a hand onto his cheek. "Jonah-kun, come back to me."
Jonah sucked in a breath and finally came out of his trance. He looked up at Yuuken with a panting breath. "Yuuken-niisama..."
Yuuken couldn't help but smile, relieve that Jonah was back again. "Stand behind me, okay?" he whispered. He turned around as he gently push Jonah behind him.
Yuuken stared Farena straight in the eyes, standing tall without any trace of fear. The young man in front of him had stepped the line. Jonah's parents had been a sore subject in their family, more often than not the arguments between his birth parents. But it never hinders Jonah's smile which Yuuken has loved ever since their first meeting. Even when his mother didn't like Jonah in the family, Yuuken made it his life goal to love his new adopted brother just like how he loved his birth sister.
"Sir Farena," he started. His voice was steady and not wanting to show any anger. "From what you said earlier, Jonah caught a third of the monsters in Phoenix Mountain. He was unruly and too cocky. He intentionally caused trouble for you." He bowed him. "I apologize to you all on his behalf."
"Oniisama!" Jonah cried, but Yuuken just glanced back and gave him a headshake.
Farena chuckled. "Sir Yuuken, you really are kind and understanding." He eyed Jonah who looked like he was ready to pounce at Farena if it wasn't for Riddle still holding his hand. "What your brother did was extremely inappropriate and made quite a fuss." He looked back at Yuuken, a victorious smile on his face. "But for Sir Yuuken and Lady Yuuka's sake, there's no need to apologize. House Crowley of Dawn and House Kingscholar of Afterglow are like siblings."
Yuuken nodded and continued with his chin raised high. "However, while I don't join in a hunt that often, I know that throughout the years of hunting, I've never heard of a rule that forbids someone from hunting too much prey. If Jonah broke a rule, which one was it?"
Farena blinked confusedly. "What?"
"Sir Yuuken, what you said might not be the best way to put it," an older Kingscholar disciple spoke up. "Although it was not written, everyone understands clearly and obeys them well."
"That's right," another younger one chimed in. "How much prey is in the area in total? Probably below five hundred. That's so little compared to the five thousand hunters attending this! And Argentum hog them for himself! What are we supposed to do?"
"It isn't his fault that others can't capture any prey," Yuuken spoke without looking at who spoke, still focusing on Farena who slowly became more annoyed at him. "Isn't the hunt all about a test of one's skill? Although the methods that Jonah-kun used are different from others, it's still his magical skill that he build on his own. Just because the others can no longer hunt that third of the prey, you can't say he follows an unorthodox path. In the end, hunting is hunting. There's no need to bring up about upbringings. Jonah-kun is a disciple of House Crowley of Dawn. He grew up with my sister and me and is as close as a brother is to me. I will not accept anyone calling him a 'servant's son'. A mockery toward him means a mockery toward our House."
Yuuken stepped forward until his chest nearly touched Farena's. He took a deep breath before releasing it through his nose. His heart was hammering hard behind his chest. He knew what he was doing was right. All for his little brother. "So, I hope that Sir Farena Kingscholar will apologize to Jonah Argentum of House Crowley of Dawn."
Farena was taken back, just like the others from the murmurs. Jonah looked like he was going to cry, while Riddle nodded at him with respect.
Claudia stepped forward, a hand on his arm and rubbing gently. "Yuuken, dear. It's a small matter. Don't be angry anymore."
Yuuken turned to her, smiling out of respect. "First Lady Claudia. Jonah-kun is my brother. I won't let anyone insult him."
He looked up to Jonah and smiled with a promise. Promise that no matter what, he will love his dearest brother.
And he still loves him until his final breath.
#twisted wonderland#disney twisted wonderland#twst#twisted wonderland fanfiction#twisted wonderland fanfic#twisted wonderland fic#twst fanfic#twst fic#twisted wonderland au#mo dao zu shi au#me going back to back between the comic live-action and anime be like: how do i mix this like a margarita?#because i like some elements from the live-action#like more best girl yanli#which means yuuken makes LIAN OU PAI GU TANG XD#the world building for this au is still whack#what is the yiling laozu equivalent for jonah?#is this the start of leona/yuuken crackship?#jonah using japanese terms is so weird XD#everyone's sword is named after their unique magic#except yuuken and yuuka named after their canon last name#tried writing yuuken but it had been a long time since i re-read the manga#so him being not worthy to be leona's husband is pretty much from me#but everyone is also hard#especially who are originally minor characters
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you made me think ab nerd nick too damn much its concerning. imagine jerking him off while he yaps ab his geeky stuff, stuttering and his words slurring when you squeeze around his tip
ANON…. youre actually my soulmate how did we think of the same thing (nsfw)
nerdy nick who’s far sighted so he regularly wears his glasses that make his eyes look bigger and just adorable. his wardrobe consists of graphic tees and hoodies that fit him awkwardly and his hair is most of the time disheveled.
nerdy nick whose budget goes to cosplay and comic con because those things are expensiveee and his brothers try their hardest to support him by helping him make the costumes (imagine nick unironically doing the anime hands thing around chris and matt and they try not to cringe LMFAOOOOO).
nerdy nick who yaps soooo much about his interests, from lord of the rings lore to his fav doctor from doctor who. i can just IMAGINE him making video essays complaining ab the new live action avatar series and how it doesnt hold up to the original series.
nerdy nick who’s the same sassy and witty guy as we know but he also puts that energy to defend his fav characters on the internet. best believe he has a stan account. many of his tattoos are dedicated to his comfort characters as well.
nerdy nick whose interests look innocent to others but behind closed doors he regularly reads and writes the most sheet gripping, back arching, toe curling smut about his fav fictional men. erwin from aot, thorin from the hobbit, ALL of jujutsu kaisen. he furiously stroked his dick to the thought of getting fucked dumb by nanami.
nerdy nick who acted normal and talks about regular stuff when he first met you but when he gets comfortable with you he immediately starts yapping. you think he’s just the most adorable thing when his eyes light up when talking about all his interests. you don’t even know what he’s talking about but your attention is hooked. nick, however, was used to people pretending to care about what he’s talking about so he stops himself.
“i’m sorry. ugh, i always talk too much, that was weird and boring”
“no, no, it’s fine. so… uruk-hais are bred between orcs and humans?”
nick wanted to suck your dick right then and there.
having sex with anime playing in the background was not rare between you two. one time, you both were watching an episode when you got distracted by how his tongue was peeking out with concentration. you noticed how fat his tongue was and how red his lips were. those same lips were wrapped around your cock not long after that. nick was gagging and moaning around it, his eyes bubbling up with tears streaming down his flushed cheeks as he jerked you off from the base. saliva would drip from his mouth, running down his chin as he struggled to take everything down. he was still wearing those same glasses, sliding down his nose from the sweat. he looks up at you with those big puppy eyes, tears running down his face. the sight makes you groan and shove your dick further into his throat. you thought he looked absolutely beautiful with cum streaks on his glasses.
nerdy nick who sometimes rambles too much and in these times you love teasing him. “come on, baby, tell me more,” you whispered to the back of his ear as he writhed and thrashed on your chest, pants gone and his swollen cock red and dripping as you squeezed the base. “time- time lords have two hearts, so,” he lets out a pathetic whine, “so the doctor never dies, he—mmnghh—they instead regenerate into a new body-AH-“ you squeeze and dug your thumb into his leaking tip. his chest heaves and he pants like a dog. “fu—uck, please, please, please. i wann- i wanna cum, oh please.” you think he deserves it so you quicken your strokes and let him cum. his mouth releasing unintelligible noises while those beautiful blue eyes go cross eyed.
nerdy nick who becomes your person and who you will go to endless comic cons with, watch a new series with, and who eventually will turn you into an even bigger nerd than he is😩🤞🏼
a/n: i wrote this without pause wtf
#nick sturniolo#nick sturniolo imagine#nick sturniolo smut#nick sturniolo x male reader#nick sturniolo x reader#nick sturniolo fanfic
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Characters that are aroace according to me and several other people who have approved these headcanons. Explanation for who they are under the cut + brief summary of the source material because if you haven't consumed these yet, you should! (I need more people to talk about them with)
1. Toshinori Yagi: He's the main characters' mentor and No. 1 Hero in the anime and manga "My Hero Academia" which follows the story of Izuku Midoriya, a high school student who was born without powers in a world where about 80% of the population has superpowers, as he attends a prestigious hero academy to become a licensed superhero. Watch the show.
Aroace level: has never shown romantic or sexual attraction to anyone in canon, has however shown what I interpreted as sex repulsion on a few instances in bonus material. the aces in the fandom crowd around him. it's a popular headcanon.
2. Monkey D. Luffy: Protagonist of One Piece, which follows his very, very long journey across the world with his friends / pirate crew in order to find the One Piece, the most legendary pirate treasure, and become the pirate king. Watch the show.
Aroace level: basically as aroace as you can make a character without explicitly using the terminology. crap ton of evidence to support this both in the source material and in stuff the mangaka said. like genuinely, I consider Luffy an aroace protagonist.
3. Sampo Koski: A playable character in Hoyoverse's turn-based gacha game "Honkai: Star Rail" where a group of people travel on an intergalactic train to different worlds in order to get rid of the Stellarons, known as the "Cancer of All Worlds". He's a jester-type character who scams people. Play the game.
Aroace level: Personal Headcanon with no canon evidence but somehow the aroaces on Tumblr crowd around him.
4. Michael: A timeless being who oversees the neighborhood in which the show is set. The story follows Eleanor Shellstrop who falsely got sent to The Good Place (basically heaven) after she died and is now trying to learn to become a better person so she can stay there. Show is hilarious, teaches you about philosophy and has a lot of unexpected twists and turns! Watch the show.
Aroace level: Listen I do not know a single person, ace or not, who knew what "aroace" is and walked away from this show not under the impression that Michael is aroace. He's a very aroace character. You'll understand if you watch it.
5. Dr. Robotnik: Antagonist of the Sonic The Hedgehog movies. Watch them.
Aroace level: Do not come for me with this one because he gets shipped with his assistant and there's a lot of people saying they're undeniably gay and in love with each other but this is a character who's struggled with alienation a lot and openly mocks the average person's socially expected life; the headcanon basically writes itself.
6. 9th Doctor: Listen, I wouldn't know how to summarize Doctor Who even if I tried but it has time travel, aliens and chaos. Watch the show.
Aroace level: The Doctor in general is a very asexual character (even said by Matt Smith himself), and this one in particular just struck me as very aro as well. He kisses another character in the show but I did not register that as romantic at all...
7. Benjamin Linus: An antagonist (you will go back and forth between loathing his guts and loving him. also he gets beaten up a lot. like an almost comical amount) and pretty major character in "Lost", a show that follows the passengers of a plane crash after they landed on a mysterious, seemingly deserted island where strange things are happening. Watch the show, it's fantastic.
Aroace level: Personal Headcanon. Doesn't have a love interest or displays sexual attraction in a show where a lot of characters do. Singular attempt at romance looked more like display of his mental health issues than genuine romantic attraction.
8. JB Cox: A master thief who's simultaneously very cunning and also very stupid. Basically live action version of Sampo Koski. He's from the series "The Hardy Boys", which follows the teenage brothers Frank and Joe Hardy as they try to solve the mystery behind their mother's murder. Contains murder mystery, crime and secret societies. Watch the show, I have no one to talk about it with. Not a single person.
Aroace level: Not a singular display of romantic or sexual attraction but also he's the only notable character of his age group in this show. Lives in a secret hideout / apartment and spends his life breaking into buildings and stealing things for people who hire him. I cannot look at this man and imagine him as someone with a love life. I just can't.
#toshinori yagi#aroace#asexual#aromantic#aro#ace#monkey d. luffy#sampo koski#michael the good place#the good place michael#9th doctor#doctor who
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Your post about that dialogue from Gotham Knights (the game) made me think back on how much I miss Bruce and Dick's relationship tbh. Like obv it was never the healthiest thing ever, and Bruce was always emotionally constipated, but it always felt a little more... equal? Recently it's just felt so toxic, like Bruce will be an asshole, and Dick will be hurt by it but will still come back to him and will remove the burden of Bruce apologizing for anything from him. Like the scene between them in Nightwing 100, where Bruce is rightfully apologizing for his crap and Dick says he doesn't have to. I do like that scene (even if it was over the top), but that's not right. Like, no sir, he has a lot to apologize for lmao. But that's literally been their dynamic for so long. Whenever Bruce should be called out, Dick just forgives him and Bruce goes back to doing the same old shit again, and Dick forgives him again, and rinse and repeat.
Honestly, it feels like whoever wrote those scenes took a look at that one meme of Batman slapping Robin and said "hey, they like that, let's do that!" Like, you can't go a long time without Bruce hitting Dick. Because they think fans eat that shit up ig. They are so attached to their shock value Bruce and Dick fights and their image of brooding Bruce that they won't address their fucked-up relationship and won't change the status quo. We have gotten many scenes of them being great together and having sweet moments, but those all feel tainted by the rest of it. It's as recent as the amnesia arc where Bruce re-traumatized Dick and then didn't help him when he was living in his car and then pretty much emotionally manipulated him to become Nightwing again. Recent comics really have forgotten what Batman is about.
And it sucks, because Dick is my fave of all faves, but I also love the hell out of Bruce Wayne, and it's so sad to see him be reduced to this... only brooding, borderline abusive asshole. They won't let him grow or develop. I don't mind conflict, and I like that they have a complicated relationship. I didn't even mind Bruce punching Dick, because it's interesting. Once was fine, twice was fine, the same thing happening all the time without addressing it and with no change across years is kind of a problem. I'm only keeping up with the Nightwing run out of loyalty to my boy, but from what I've heard of the events that are happening outside of that, it seems that they are having issues again, and I'm waiting for the next Batman issue that features Nightwing to also feature another punch or something. It's always Bruce being coddled by the story and never being asked to make the step forward, it's always Dick that has to give in and make Bruce feels better about his flaws and free him of any responsibility for his actions even when it's time for Bruce to step up and grow up.
It's why I prefer the animated adaptations or the retellings. I think world's finest did a good job with their relationship, I feel like Robin: Year 1 from back in the day did too, and Young Justice animated for its many flaws has a solid dynamic between them. They still have a complicated relationship, but it isn't so dramatically awful. It allows for a more balanced and well-rounded portrayal of the character when you aren't pandering to some people by flanderizing the character ig. Anyway, sorry for ranting, you're like my fave Dick Grayson blog so I just wanted to share. Hope this wasn't a bother.
No yeah I hated that aspect of Nightwing #100. If TT wanted to do a scene like that, he should’ve built up a conflict between Dick and Bruce to give us some context as to some type of thing Bruce actually needed to apologize for. Then he could’ve had Bruce apologize, Dick accept the apology, and end it with that reconciliation.
Instead, he just had Bruce apologize like, “I’m sorry I failed you, I’m sorry I pushed you away, I’m sorry if I ever made you feel like I wasn’t proud of you,” which would’ve hit much harder if, again, they had shown some kind of recent conflict between Bruce and Dick to warrant that sudden apology. And for Dick to then express his own hurt and such over said conflict. And then for them to come to some reconciliation. But yeah it’s very unsatisfying for Bruce to just list things he’s sorry for, and for Dick to hug him and just reassure Bruce. Like nooo let Bruce feel bad. Let Dick feel bad because of what Bruce did to him. Let Dick be angry. Let them both hurt. Then let them heal.
As for the amnesia arc, I feel like they really did a disservice to Bruce by not focusing enough on his trauma from the sniper incident. If they really stressed how much it traumatized him and then showed how his actions were effected by that (like giving him a dire need to have Dick return to normal bc otherwise it’s like Dick just died in his arms on that rooftop) then that is much more sad and compelling, and we can at least kind of see where Bruce is coming from by showing Dick the sniper video (though it would’ve been better if they just… hadn’t done that all).
If I had been writing that issue, I would’ve had it from Bruce’s POV where he would’ve constantly been in a state of flashbacks. Like seeing his parents getting killed and then comparing it to Dick getting shot. And then having flashbacks of Dick when he was younger but then Bruce imagining that Dick keeps getting shot in the head in each of those memories. And all of that literally just like… pushing Bruce over the edge. And then of course when Dick wakes up and asks Bruce “Who are you?” Bruce spirals even further. And we see his descent to this very isolated and dark place where he just wants his son back at all costs. That would’ve been waaaaay more interesting. Extremely dark ofc. But interesting.
Yeah the comic Dick and Bruce relationship can definitely be toxic (and I’m not totally opposed to that bc I think it makes things interesting between them), and there are animated shows that show them in a more balanced light. The Batman (2004) is one of those shows as well. Dick was Robin then ofc, and Bruce wasn’t so dark at that point in life. But when you watch shows like that, it reminds you of the character Bruce is supposed to be, and it reminds you of what you like the most about him. So definitely nice to watch shows like that sometimes to remind yourself of the Bruce Wayne that exists outside of modern comics.
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You need to read the live action, the manga and the anime as different canons. It's healthier to the fandom's brains AND it's also better for analyzing properly what is going on.
One Piece is the type of story that relies heavily on the medium it is presented on. Hm actually, let me correct myself: One Piece is the type of story that celebrates and understands and was born to be told in that specific medium. The form and the content don't exist as separate entities, but are rather intertwined to elevate the narrative. That the characters are soooo cartoonish is not a mere style choice— it holds meaning, it complements what the author is trying to transmit.
One of the first things that I learned in college while studying storytelling was that there's a max point for tension in any story. There's a top to how tense you can keep the audience. If you reach that point, you won't be able to intensify the emotions; that's it, you need to introduce a breather or you'd end up with a stagnant narrative.
In manga/comics and cartoons/anime it's easier to walk that line. The power to make some silly joke or have the characters acting stupid is in the hands of the mangaka. I bet any manga reader or anime watcher can think of a moment in their fav series when the characters were in the middle of a seriously important moment, just to be involved in something ridiculous that breaks the tension.
It's fantastic. Mangas and animes love to make fun of their mediums, introducing satire to allow the audience some laughs. It's not until later when the reader/watcher sits and realizes how fucked up the whole situation was. A delayed punch to the gut, something to keep the mind working and thinking of their series until they wait for the next chapter/episode.
How to make the audience feel the impact of a character? Well, you can allow the audience to empathize with the character by explaining their reasons or backstories, you can show the world through their eyes. You can also show them all goofy and happy, so when the hammer strikes the readers/watchers will be nostalgic for the good times, mourning the fact they will not get more of that and becoming nostalgic. There are so many ways to keep a character haunting a story...
Oda is aware of all the manga medium can and cannot do. For people like him, the limitations are actually just more tools to play with. If you want to double check what I'm saying, go reread the panels where Luffy awakened Gear 5. Only manga could offer what went down in those panels; when the very nature of Luffy's powers are revealed to the audience and the characters, the manga gets self-aware and voices it out: "hey, this is the type of thing that only happens in comics, right?"
The anime allows a different range of tropes and shapes the story, correctly translating it. It's true that the best translations mind the public and the medium, adapting the jokes and references. It's also true that every translation is a little betrayal to the original, a unique creation in its own right. A good example of that is the way that the fillers shape the perspective of the watchers when it comes to the characters' dynamics. If the anime has a filler arc where the fight, a new tension will be present in the next manga canon arc. If the anime shows a filler where characters are close friends, it's gonna be weird when they start acting all distance back at the manga canon events. Not all fillers are meant to be considered part of the main storyline, of course. You have OVAs and you have movies and fillers and all types of media that are considered separated.
On the other hand, you have the visual changes: imagine that the anime changes the angle of a scene where two characters used to stand close and put more distance between them. What the manga could mean as a subtle implication that those characters cared about each other could turn into cold tolerance of the other's presence. Even the best of animes have those changes!!!!
In One Piece's case, turning the story into a live action series must change almost everything. It'd be impossible to maintain the cartoonist aspects of the story (unless they decided to go full Looney Tunes in that movie with Brendan Fraser lol). The choice was the following: we can try to keep the original elements even when they translate poorly to the new medium so we can please the original fans that are used to the story —OR we can try to translate the essence of the story and change all that needs to be changed, so that we keep the storyline and storytelling coherent and cohesive, at the cost of creating something not necessarily alien, but still new.
Violence in OPLA is way more serious.
You know how in the manga/anime characters would get fatally wounded and come back like it was just a minor injury? Or how they'd heal with no major medical intervention? That's a liberty of the medium. Your brain doesn't process the same way when you see a drawing wounded and when you see a real life person wounded. In OPLA, the suspension of disbelief is harder to achieve. Even and because the story was already introducing Luffy's powers and other fantastic elements, they needed to be careful to not overdo it. One option was to make people actually die— to know that in the live action not everything is so silly? It raises the stakes. OPLA discards some elements that are natural of a manga and in consequence, the story turns out to be darker. You have no fillers or little stripes of silly drawings or author comments or openings and endings. You'll have to do with what you do have and tell a story worthy of being told in that new medium.
That's a good translation right there, made by someone who understands that you cannot copy and paste things recklessly. That's the formula that made so many live actions fail, in fact.
You'll see many fans complaining because they don't understand any of what I just explained. For them it's easier to justify their opinions by saying that "they did this bad and that's why I don't like it" than admit that "they did this correctly but it's not my thing anyway".
One big example? Fanservice cannot be carried out from manga/anime to a live action. It's not the same to exaggerate the proportions of a body in a drawing (we can discuss the morals of this later) than ask of it from a human person. It's not the same to use some sexual traits in fiction as a way to appeal to the audience than to carry out those implications to a live action (again, I'm not saying it's good or bad because that's a discussion for another time).
Actors are humans. They will never have the same characteristics as an animation or a drawing, no matter how advanced technology is. The sooner you understand that, the sooner you appreciate art for what it is in its medium.
So really, what's the healthiest option? It'd be to approach each version as exactly that, a version of the story. As foreign as it can sound to some fandoms, the audience doesn't have to justify their opinions on something. Opinions are not professional reviews or art analysis. You can be as subjective as you want! To perceive each version as its own little world is easier: you can say "I like this better" without invalidating the opinion of anyone else. There's also the fun in exploring the different implications (they look like friends in this version but like lovers in this other) and playing with the divergences. Fans do that all the time in their art (literature, visual art, music, etc)
You can also analyze different versions of what is going on and contrast them. Do the differences change the form and content of the story or just one of those things? How does this new element change the dynamic between these characters? Are the characters written well but get thrown into a new setting? Is the setting the same but the characters feels more like ocs than the characters from the original story?
Knowing how much One Piece values symbolism, it'd be interesting to see how they could translate the constant influx of symbols in the manga or in the anime to the live action. The live action might show just the most important parts, cutting all the rest for lack of both space, time and budget. What does the author consider to be vital to the story and what can be cut down?
To have three parallel Luffy's in different stages of the story is fascinating to me, more so than the idea of trying to mix three formats that won't even match, mind you.
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are there any manga artists you particularly admire or are inspired by? what about their work do you like?
yes, absolutely! I could go on and on!
There are so many manga artists I admire, though some feel further off from anything I can or would want to make, and some are more direct influences, they’re all fun to read.
Here are a few favorites just on my bookshelf, ones I think about a lot…
Naoki Urasawa
I really admire his sense of timing and ability to build tension, I think he’s really good at keeping a simple back and forth conversation visually interesting (something I struggle with and seek to improve upon!)
Rumiko Takahashi
I’ve read a good amount of her work and find myself appreciating Maison Ikkoku the most. I like how she makes use of the environment, lots of gags play around with the old apartment building falling apart around them, the street that freezes over in the winter, the train that passes by and drowns out the tail end of a sentence. It makes the world feel so lived in!!
Yoshikazu Yasuhiko
He has been an animation director and it shows! I really admire his sense of clarity and momentum from panel to panel, page to page! I wish I could add more pages.. but he’s so good at guiding the eye and keeping the viewer/reader oriented in action scenes, and his draftsmanship is just insanely solid. He has a sense of timing that I think is informed by animation or vice versa, I feel like it slows the pace down to something closer to real time.
Bisco Hatori
I would include whole volumes if there was space… but I love her ability to make a “moment”… to slow your heartbeat down and make it pick up again. I also think she’s good at getting creative with camera angles and using simple set ups while keeping it visually interesting. I think Ouran starts out a little chaotic but gets a lot smoother as it goes on.
I love how she lets a bubble build and then pop! before it can get too serious… she created a story with a lot of flexibility in terms of tone!
I also admire how much fun she has with lettering and speech bubbles, it reminded me that, while comics are a visual medium, sound is something useful and highly effective. I feel like I can hear her characters when reading and find it really inspiring.
Hiromu Arakawa
She’s so good at dynamism and motion. I can’t say I’ve applied it, but I wish I could. I also really like how she handles cross cutting between different scenes, the A and B plot, on paper. I often find myself in awe of her scene transitions!
Fumiko Takano
Beautiful beautiful beautiful lines… this is just one quick moment of many but I love how you can feel time swell.. the camera pulls out, the day is at an end. She achieves so much with just pen and ink and the occasional screen tone and I admire her pen(cil) mileage a lot.
#that’s all I can fit but I’d keep going…#not pictured - Kyoko Okazaki for the simplicity of her lines and use of the same setting.. feels like time is passing#so good at establishing a mood without any dialogue… atmospheric!!
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Hello....Do you mind if I ask your top 10 favorite characters (can be male or female) from all of the media that you loved (can be anime/manga, books, movies or tv series)? And why do you love them? Sorry if you've answered this question before.....Thanks...
I've been asked my top 10 before, but never from all of the media I love and I've never been asked to elaborate on why I love them. Not to mention that the list changes as I watch/read new stuff, so it's good to update it. Then again, I don't watch live action that much, so I'm afraid it's gonna be all animanga/books, if you don't mind.
I must say, though, that it was impossible to decide on 10 this time around. So I resorted to listing my top 5. The list is in no particular order, by the way.
1. Kuchiki Rukia
So this one was an instant fave and I don't even think I need to explain much. Badass, kindhearted, A+ sense of humor. Just checks all the boxes. Also love her unique character design.
2. Gilbert Bougainvillea
I strictly mean the book version of him. Gil was one of the very few fictional characters to ever surprise me. I love how unapologetically emotional he is and how he's always making sure the people he holds dear get to live a happy life. The way he's such a "family and friends first" kinda guy and yet nobody seems to realize it simply because he looks like the aloof type is bitterly relatable for me. Also the way he acknowledges how unfair life is for him despite being brough up in an environment that, in theory, had everything to meet all his needs, and yet tries to make the best of it all. And my God, the amount of Respect Women Juice that this guy drinks. Goals as a human being, tbh. (Yes, the books are that different from the anime.)
3. Oikawa Tsurara
I normally don't vibe all that much with characters like Tsurara, but she quite literally opened new horizons for me in fandom. Imagine the dumb, clingy servant girl stereotype turned upside down. You start out fearing that she'll fit into the Mold TM, and before you realize it, she's risen to become an upper officer in command of two clans and is endgame with the protagonist (with three more guys pinning after her). Except this isn't a Cinderella kind of journey; she was always treated by her love interest as an equal and was always portrayed as having immense potential. Her jealousy of her rivals seems comical but is actually valid, as her suspicions always hit home. She's smart and strong and not at all delusional, and the story makes sure to give her a steady growth. She never becomes overpowered, but the protagonist only gets to that level because of her.
4. Takigawa Masaki
Again, book version. Motherfucker just be casually defying every god in existence because y'all can't just try to kill my disciple like that, what the actual fuck. The "Catch These Hands" priest, because he'll punch the shit outta whoever gets between him and the little bitch who tried to harm his students. And then he'll fuck into his shrine in the middle of the woods like nothing happened. His main occupation, however, is to be hot as hell. Truly an icon.
5. Sheryl Nome
Same as with Tsurara, I normally don't vibe much with characters like Sheryl, but holy fuck, the amount of respect I have for this woman. Macross is a franchise that specializes in taking archetypes and tropes and subverting them completely, and Frontier is my favorite because the character handling in this thing is good fucking food.
Sheryl has such an attitude but she can back it up. And she does it in ways that are charismatic, rather than annoying or bitchy. She absolutely never puts herself down and is never portrayed as actually fragile and inoffensive on the inside. The narrative gets points too for never going "she's amazing but she won't ever be as good as the protagonist". And she's cute, sure, but she's also dangerous and is out there to get what she wants. Yet there's so much heart to her. So much passion and admiration for all things alive and for connecting with them through music. She usually only does what she wants but is so ridiculously selfish with the people she cherishes. Easily one of the most extremely complex and absurdly cool femme fatales in animanga.
#bleach#violet evergarden#macross#tsurune#nurarihyon no mago#macross frontier#kuchiki rukia#kyoani#gilbert bougainvillea#takigawa masaki#sheryl nome#oikawa tsurara#nuramago#anime#faves
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Fixing Netflix's Avatar: the Last Airbender
(Live action ATLA is a fundamentally bad idea because it disrespects the medium of animation and the original is near-perfect. But the wasted potential of this show annoys me, so there.)
This rewrite has 12 x 60 minute episodes, because squashing this story into 8 is insane. Maintaining its per-episode budget, this would still only make Netflix’s Avatar (NATLA) a little more expensive as their One Piece, which it's performing better than.
Each episode of the original show is 22 minutes, so even adapting two eps shot-for-shot per live action ep leaves each an extra 16 mins of runtime. For this new material I'm drawing on a lot of the comics and expanded canon.
If a NATLA change or addition isn’t mentioned (Azula and Ozai, the Cave of Two Lovers, the Mother of Faces, Kurruk’s dumbass knife) assume it’s gone because it’s Bad.
(Also, I recognise that my examples of dialogue are cringier than NATLA. But I’m not a paid for this, so you’ll have to forgive me.)
1. The Boy in the Iceberg
A pretty straight adaptation of the first 3 episodes of the original show smoothed together, removing the Zhao/Zuko subplot from 1x3 The Southern Air Temple
Extra scene- when Katara yells at Gran Gran for supporting Aang being banished, she narrates a version of the flashback sequence from 3x8 The Puppetmaster, showing the slow depletion of the South’s waterbenders, and how the ship Katara and Aang explored got there. This big extra action beat contextualizes how prosperous the South used to be, and Gran Gran’s anxiety over Katara’s bending
Extra flashback of Aang’s tattoo ceremony in the Yangchen chamber from NATLA– his whole class is there, cheering for him- Aang will find their skeletons with Gyatso’s, who died protecting them
2. The Shadow of Kyoshi
Combines 1x4 The Warriors of Kyoshi with 2x5 Avatar Day, where a village prosecutes Aang for Avatar Kyoshi killing their leader, Chen the Conqueror, long ago
Aang rides the Elephant Koi and provokes the Unagi right into a conflict between mainland and Kyoshi fishermen. Contrast how the two sides perceive Aang– Kyoshi as a big celebrity, the mainland as a criminal. He gets hit with the full breadth of the Avatar experience all at once, and naturally gravitates towards those who treat him better
They organize a ‘trial date’ where the mainlanders will return to demand justice, and Aang will defend Kyoshi’s honor This is how word spreads to Zuko.
Sokka’s subplot with Suki is unchanged from the original. THE SEXISM STAYS. The new NATLA stuff with them bonding over their parental issues and being non-benders can go after he’s been humbled
NATLA hyping up Kyoshi at the expense of Roku was bizarre fandom-pandering, especially as canonically Aang basically hates her. Here, Aang is initially convinced Kyoshi couldn’t have killed Chen because an Avatar never would.
This leads naturally into him and Katara reading up on Kyoshi’s past in her shrine as they do in NATLA, but Aang keeps getting distracted by the islanders' celebrity-worship. Eventually Katara leaves him to fend for himself in a huff.
Instead of trying to ride the Unagi, Aang goes to the trial alone and overconfident, but Kyoshi possesses Aang to confess she did kill Chen. Chen dying because he refused to retreat directly foreshadows Zhao dying because he refuses to take Zuko’s hand in the finale– wannabe conquerors crippled by their pride
Kyoshi possessing Aang is not pleasant. While he’s under she rags on him for abandoning his duty and not taking things seriously
Meanwhile, Zuko attacks the island. Sensing this, Kyoshi blasts off and lands in the middle of the village like in NATLA, brutalizing the Fire Nation soldiers.
When Kyoshi sees Zuko she tries to kill him- directly paralleling the flashback of her killing Chen, a moment of genuine fear for Zuko. Aang snaps out of it at the last second, refusing to kill him. Zuko recovers enough to strike, but Katara arrives just in time to knock him back again.
This moment foreshadows Aang’s conflict over killing Oazi– when Zuko says he should do it, Aang reminds him if he’d had that mentality in this moment Zuko would’ve never been able to redeem himself
The Gaang run, and Katara argues against what Kyoshi said– that killing is the only answer, that Aang deserves to be punished for abandoning his duty. This is a key difference to NATLA, which seemed to revel in tearing Aang down at every opportunity
Aang then puts the fires out with Unagi as in the original
3. The Price of Freedom
Combines 1x5 Imprisoned with 1x10 Jet, with a little 1x9 The Waterbending Scroll sprinkled in
Begin with Katara showing Aang her waterbending moves after Kyoshi told him to take things more seriously, and Aang totally outshining her, only for them to bump into Haru doing the same with his Earthbending. This is an initiation into Jet’s gang, using his bending to fight Fire Nation after his dad’s imprisonment drove him here. Unlike the rest of the outlaws, Haru has a mother to go home to
NATLA Jet helping Katara tap into her trauma to power her bending is interesting, but the execution was bad. Here he’s doing the same for Haru, too.
If we emphasize this aspect—Katara letting her rage drive her—her dynamic with Jet foreshadows her conflict in The Southern Raiders.
Playing both Katara’s Book 1 ‘love interests’ off each other contrasts them in an interesting way
Use the extra runtime to build Aang’s relationship with Jet—a Lost Boy looking up to Peter Pan. Jet is the kind of leader Aang wants to be as the Avatar, with his found family and ‘fun’ approach.
Jet’s target isn’t to destroy the dam, but to ‘get onto’ the Fire Nation prison, which doubles as a shipyard.
I liked NATLA’s slimier, more conniving version of Zhao. His introduction would fit perfectly here, replacing Imprisoned’s warden.
When Haru is arrested, Jet and Sokka clash in whether to help Katara go after him
Jet helps Katara because he wants her to see how broken and hopeless the prisoners are for herself.
Bato is also a prisoner here. He and Katara have an emotional reunion, which leads into her failed attempt to rally the other prisoners
Zhao summons Katara to his study after to taunt her and lay down the law. This Zhao is a wannabe scholar, obsessed with learning about and stealing from the other nations. Classic colonial mentality, and hidden in the background is the map he stole from Wong Shi Tong’s library, hinting at his plan in the finale. Katara also spies the waterbending scroll in the study, tying into her inadequacies in the opening scene
The Freedom fighters plot to hijack the Gaang’s escape plan and blow up the prison’s furnaces, killing everyone aboard. Sokka realizes and is captured.
When the truth is revealed, Katara fights Jet– another signature Katara RageTM moment where she summons a huge wave– and draws the guards’ attention. But it’s too late, and Jet triggers their plan.
It’s revealed Sokka escaped the Freedom fighters and neutralized Jet’s plan. Aang arrives with the coal, but the Earthbenders are still unwilling to fight.
Zhao uses the Freedom Fighters to taunt the prisoners- even their own people have given up on them. Then Haru starts the riot.
Zhao is tougher than the original Warden– Aang teams up with the earthbenders to knock him overboard
This shifts the conflict in several ways- Jet’s target is no longer innocent civilians but a shipyard with military, strategic value. At the same time, his willingness to sacrifice new recruit Haru is more callous than the original.
4. The Warrior and the Waterbender
Combining 1x9 The Waterbending Scroll with 1x15 Bato and the Water Tribe, and a dash of 2x4 The Swamp
Picks up where last episode left off; reinforcement Fire Navy ships are closing in on the prison as the prisoners evacuate, but Katara recklessly doubles back to grab the Waterbending Scroll in Zhao’s office. Aang follows.
The Fire Navy opens fire on the prison, triggering Jet’s bomb. The prison is crippled. Katara grabs the scroll and flees with Aang.
Katara’s necklace is lost in the chaos.
Thus we’ve cut the pirates but kept Katara endangering the group to get the scroll. Losing her necklace is now also a consequence of this
Aapa and Momo are separated from the group by the Fire Navy attack. Bato grabs a boat and directs the Gaang into a rapid river to escape the bigger ships- a precursor to Sokka’s Ice Dodging later.
Bato reminisces about similar times with their father and suggests Sokka and Katara join their Southern fleet. He’s headed to Omashu, the biggest Earth Kingdom stronghold in this region, where it’ll be far easier to find them
Aang hiding the map to Hakoda in Bato of the Water Tribe is often seen as his most unlikeable, childish moment, and the ‘Liar Revealed’ conflict is unusually contrived for ATLA. I’m cutting the that element but still exploring Aang’s separation anxiety through Bato
Aang and Katara reflect on last episode. Aang reiterates that violence wasn’t the answer, and her kindness and compassion is her greatest strength. It’s already saved him. He can’t describe how lucky he was to wake up in her arms, of all people.
He gifts her his handmade necklace from The Fortuneteller
This is a crucial way I'd like to shift shift Katara and Aang: In the original Katara does the vast majority of their emotional labor, and though it’s beyond doubt she loves Aang, there’s not *much* to set up her romantic interest, and so it comes off a little one-sided wish-fulfill-y. To improve this without pushing romance early, emphasize what Aang has to offer Katara. Here he’s her emotional support over their mutual betrayal by Jet
It also reiterates how dependent Aang has quickly become on Sokka and Katara, justifying his separation anxiety as their potential departure looms. He focuses on the waterbending scroll to strengthen that connection they have – ‘after Jet, let’s do this the right way’. But his talent only heightens her frustration
At the same time, Katara realizes her necklace is gone– losing a connection to her heritage VS Sokka growing closer to his through Bato.
Appa and Momo get a comedy subplot like in 2x4 The Swamp, because if I get to Book 2, that’s one of the episodes I’d cut
Meanwhile, Zuko investigates the wrecked prison and finds Katara’s necklace. He trails the reinforcement ships, who rescued Zhao and whisked him to a Fire Nation Colony port. They clash, but Zhao has no interest in an Agni Kai
Zhao has hired June to track down his escaped prisoners. Zuko offers her a more lucrative job finding the Avatar
Meanwhile Katara’s conflict from The Waterbending Scroll plays out. June captures her when she’s isolated herself to practice, and they pounce on the others. Sokka manages to get them free by turning June against Zuko over Aang’s reward like he does the pirates. Aang fights Zuko for Katara’s necklace while she uses her waterbending to get Bato’s boat back into the water while Bato and Sokka fight June and the Shirshu– playing on Bato’s stories of him and their dad wrangling wild beasts
They all escape on Bato’s boat– Sokka finally gets his turn at the coming-of-age Ice Dodging, using Katara and Aang’s improved waterbending to pull of an impossible escape
Aang steals the animal whistle that finally attracts Appa from June- mirroring Katara stealing the scroll
5. Omashu
Combines 1x4 The King of Omashu with 1x12 The Storm
Aang is anxious because Omashu was where he was going when he abandoned the Southern Air Temple- to find refuge with Bumi, who never fit in and made his own rules
The Gaang and Bato arrive in Omashu. Desperate to postpone Sokka and Katara leaving, while Bato requests an audience with the King, Aang drags them off to do the mail chutes– a desperate ‘look how fun I am! Please don’t leave!’ and his last chance to relive the high of his friendship with Bumi
Bato’s audience with Bumi is interrupted by news of the chaos the Gaang have caused. He’s cripplingly embarrassed when they’re matched in– ‘you really are your father’s kids’
Aang realizes who Bumi is quickly. He’s overjoyed– but Bumi is aloof, and demands to know why his friend abandoned him. A more personal version of the old fisherman from The Storm
Aang runs off and Katara follows. Sokka defends Aang to Bumi- he didn’t believe in Aang at first either, but the kid quickly changed his mind. Bumi ‘imprisons’ Sokka and Bato
Meanwhile, Katara finds Aang in his and Bumi’s old hangout spot, and he tells her how he learned he was the Avatar and ran away- his half of the flashbacks from The Storm. He understands if Katara wants to leave him and go with Bato now she knows
A royal messenger arrives– Bumi wants to bargain for Sokka and Bato’s freedom
Because Aang already knows who Bumi is, his challenges all link to key memories from their friendship. One was a meetup with Kuzon, Aang’s Fire Nation friend. Even before he was the Avatar Aang brought the nations together
After Bumi is satisfied with their final fight, he reveals he decided to forgive Aang before the challenges even started. They weren’t meant to torment him with the past but help bring lessons from it into the future.
This way we get to explore Bumi having a more critical reaction to Aang like in NATLA without sacrificing the core of Bumi’s character, or the fundamental goodness of their friendship
Bato parts ways with Sokka and Katara at the end
6. The Winter Solstice
A pretty straight adaptation of 1x7 The Spirit World and 1x8 Avatar Roku
On the Fire Nation side, I liked the NATLA addition of one of Iroh’s captors being a victim of his siege on Ba Sing Se. Unlike NATLA, this should be the first time Iroh is ever truly serious in the show.
When Aang sees the burnt-down forest, he flashes back to when he was a small child, and the monks taught him (with the same kids from his tattoo ceremony) how to care for scared natural spaces through Yangchen’s Festival (as featured in post-canon graphic novel The Rift). This more explicitly intwines Hei Bai losing his forest with Aang losing his culture
We follow Sokka when he’s held captive by Hei Bai. Building on his coming of age with Bato, Sokka has visions of returning home a warrior only to see it lain to waste– everyone he was charged with protecting dead. This foreshadows the loss of Yue.
Speaking of Yue, I’m keeping NATLA having her visit Sokka while he’s trapped in the Spirit World, guiding him out of his vision, but when we meet Yue the context of this will be very different
Sokka re-emerges from the Spirit World worried about home, but learning about the comet reaffirms his commitment to Aang
When Aang gets stuck in the Spirit World, he gets properly lost in the shifting, alien landscape we only saw in the original’s Book 1 finale
This sequence is inspired by the scene in The Legend of Korra Book 2 (hear me out) where Korra turns back into a toddler. Here, Aang’s panic turns him back into the age he was in the Yangchen Festival flashback
This story shouldn’t feature Koh, who totally overshadows Hei Bai in NATLA, but as Aang runs through the Spirit World, confused and alone, discontented spirits shout and jeer about the Avatar’s failures– specifically referencing Kurruk’s war with the spirits
Roku’s dragon swoops in to save Aang from himself. When he takes Aang to Roku’s Temple, the Fire Sages sense him and ward him off, to create more continuity between the story’s two halves
Similarly, when meeting the corrupt Fire Sages in person we call back to and contrast with how the Air Nomads upheld their holy sites
When the good Fire Sage is chained up alongside Zuko, he asks if he’s the son of Lady Ursa, and obliquely hints at Zuko’s familial connection to Roku
After his disastrous encounter with Kyoshi, Aang is cautious around Roku, but Roku is apologetic (‘this war is my fault’) and supportive. Unlike when Aang was taken over by Kyoshi, Roku inhabits Aang with permission and after agreeing not to kill anyone
(side-note but I’m not keeping the Gyatso scene because it’s contrived and dulls the personal impact of the genocide)
7. Masks
Combines 1x13 The Blue Spirit with the Zuko portion of 1x12 The Storm
Appa is injured fleeing the blockade and Aang is angry. He draws Zhao away from Sokka and Katara, and gets captured and transported to another of his prisons.
NATLA’s additions work best here. Lu Ten’s funeral, Zuko’s crew being the 41st legion. Lu Ten’s funeral should be the second time Iroh is serious and melancholy all season.
DO NOT have Zuko fight back in the Agni Kai. Stupidest decision in the show
Once Aang has saved Zuko from the prison, add a flashback from his perspective, which I’m adapting from the (honestly pretty good) M. Night movie prequel comic Zuko’s Story:
Immediately following the Angi Kai, Azula visits Zuko to mock him.
Later, she finds him sleeping on the docks after failing to gather a crew, and gets him his crappy ship and ‘crew of failures’, which ties nicely into them being the 41st division. Azula presents it as a mercy, but she’s just sweeping all the trash under the same rug.
This introduces Azula in Book 1 without being OOC or ruining her armor of perfection too soon
8. The Northern Air Temple
Adapts 1x17 The Northern Air Temple with an extra subplot: Conflicted about what to do with the settlers, Aang meditates and consults Avatar Yangchen, the Air Nomad Avatar before him, and they debate Aang’s responsibility to preserve their culture
If you must show the genocide, show it here– in brief, traumatising flashes as Aang explores the Temple. NATLA’s take on the genocide was pathetic. The Airbenders put way too much of a fight– they should be overwhelmed by huge columns of fire, dragons etc- think this fan-comic showing two Airbender boys trying to escape the attack on the North
The Mechanist’s son Teo studies Air Nomad culture. This gives his character more meat and explores the appropriation conflict presented through the Avatar Aang Fan Club in The Promise comic; ‘My culture is not a game’
Katara asks Aang to teach her to glide to pull him out of a dark spiral. Again, building that Aang/Katara dynamic, this should be a fun parallel to Penguin Sledding in episode 1– Aang unlocking Katara’s inner child, giving her a freedom she never had before him. It should really emphasize their trust. Let Aang be confident and encouraging!
The Mechanist is making weapons for Zhao (just like his shipyard), and it’s revealed Zhao deliberately spread stories about Air Nomad survivors to lure Aang into a trap, which is a tactic Fire Lord Sozin used to mop up the Nomads who survived his genocide. This idea is from The Lost Adventures comic Relics, fits with NATLA wanting to be ‘darker’, and ties into the genocide flashbacks
Zhao arrives with a battalion, ready to spring his trap and take the Temple
Now the battle for the Temple directly mirrors the genocide sequence- Aang explicitly defending his home like he never had the chance to before
9. The Old Masters
Combines 1x18 The Waterbending Master with 1x16 The Deserter
Jeong Jeong surrendered himself to the North when he fled the Fire Nation. The conditions here naturally suppress his firebending, as seen in Book 3 of The Legend of Korra
Sokka learns about Jeong Jeong during warrior training. Aang’s frustration with Pakku’s teachings pushes him towards Jeong Jeong to learn firebending too
Contrast the two elements, how Aang struggles more with firebending after getting water so quickly
Aang burning Katara and her discovering she’s a healer intersects perfectly with the North funneling women into the healing huts– is this really what she was destined for?
I appreciate NATLA trying to make Princess Yue a more active character because she’s not given much in the original and Sokka’s love at first sight crush on her is pretty shallow. However, making Yue too active undermines the point of her character in the original; that she lets herself be a passive vessel for duty right up until her final choice to help the Moon spirit
To that end, keep Yue being a waterbending healer– she is the personification of the system Katara is rebelling against. When Yue was young, she had dreams of defending the North with her father that were quickly squashed by her duties. Katara does what Yue wishes she could have
Sokka connecting with Yue because she comforted him when he was alone in the Spirit World is good, but here instead of being a revered spiritual leader, Yue’s trips into the Spirit World are secret, rebellious things, straying outside her strict duties and endangering herself. In this way Sokka is the face of Yue’s own private rebellion. She is both terrified and thrilled by the chance to meet him in person
Her fiance Haan is still a douche
Keep Gran Gran’s betrothal necklace pushing Pakku into self-reflection. People rag on him only letting Katara train with him because of nepotism, but that’s how it be sometimes when pushing societal reform. Personal change first. I did like how NATLA emphasized Katara inspiring other women to fight, so that can continue into next episode, showing how Pakku’s personal reflection led to widespread change
Katara being ‘her own master’ felt like forced girlbossery, especially as her level-up in the original show is already very quick, but I like the idea of her drawing from other bending styles to fight
Instead of the cut pirates, it’s the Yu Yang Arches who assassinate Zuko for Zhao
10. The Siege of the North
A pretty straight adaptation of 1x19 and 1x20
Katara and Aang spar in the opening and she trounces him- a nice progress marker from the stuff with the Waterbending Scroll. The footwork/moves here foreshadow the energy of their dance in 3x2 The Headband
Yue arrives looking for Sokka, having snuck away from Royal duties. Katara asks about her intentions with her brother– wasn’t it just announced that she’s engaged? Yue insists it’s platonic.
Yue: Have you ever looked at someone and just seen… freedom?
[Aang’s laughter in the background]
Katara: ...Just don’t break his heart
Sokka arrives to pull Yue away. Her brief trips into the Spirit World give her a wider perspective of the war’s impact than the North’s isolated leaders. Sokka taking her up on Appa sets up the possibility of her leaving with the Gaang to become an envoy to the South or a Spiritual Leader, making her sacrifice hit harder
They bond through their mutual anxieties over leadership
Sokka: You’d be a great diplomat. You’re charming, kind, clever but never condescending, even to a Southern peasant like me. And you’re so strong, to put up with everything you do.
Yue: What I put up with is hardly comparable to the dangers that Southern peasant has fought through.
Sokka: You have so many responsibilities. So many people to protect, so many relying on you– I know how hard that can be. At least a little.
They discuss why Yue’s parents are so protective and controlling, explaining her Moon backstory earlier on. Framing her father’s protectiveness this way emphasizes Yue’s sacrifice as a final act of agency and embracing her true destiny
Instead of Roku, Kurruk leads Aang to Koh because he’s familiar with him, letting him better pace narrating his backstory with the spirits than monologuing straight to camera
Kurruk warns Aang against letting personal attachments cloud his duty, and letting those he loves be hurt- we transition from the face of Kurruk’s dead beloved to Katara frantically searching for him.
Sokka/Katara discussing protecting Aang vs protecting Yue
Show the female waterbenders from Katara's healing class supporting the warriors in the battle, and fighting alongside Pakku
As Zhao marches through the North he finds his old master Jeong Jeong in his cell, and they talk before Jeong Jeong escapes. Follow this with an extra scene of Jeong Jeong crossing paths with Iroh
Now we get the full Zuko vs Zhao Agni Kai, played as a direct parallel to the staging of Ozai’s. Zuko spares Zhao, only for Koizilla to snatch him as he walks away. Zhao still refuses Zuko’s hand.
In NATLA, Katara called out to Koizilla and Aang turned as if hearing her, but it was still seeing the restored moon that stopped his rampage. I’m adjusting things so Katara’s words wake Anatlaang from the Avatar state- proving Kurruk wrong about attachments- and Aang communicates with the Ocean Spirit like he communicated with Hei Bai, pointing out the restored moon. Then the Ocean releases him
We linger on the destruction like in NATLAatla la s, setting up Aang’s fear of the Avatar state in Book 2– ‘Kyoshi would be proud’
#netflix avatar#atla#atla spoilers#avatar: the last airbender#atla aang#katara#sokka#zuko#uncle iroh#natla#atla live action#atla la#avatar kyoshi#rewrite#my wriitng#natla spoilers#atla netflix
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Chapter One - Bring you In
Oracle - Aang x Reader
🍃🔮
DISCLAIMER: This story isn't originally by me! The plot is fully inspired by Sandycake8 on Ao3! My intention is to explore the plot more! Thank you so much!
🍃🔮
Summary: Years after the defeat of Ozai and the resurrection of peace between the nations, an unexpected character envelopes herself in the story.
Trigger Warnings: Implied suicide, Murder, and sexual implications
Information: The story takes place 6 years after the war. I'm leaning more towards the comic looks and cultural clothing than how it is the show (anime and live action), so sorry if it seems different!
...
"You have a responsibility Aang."
Gyatso and Aang sat together on the edge of the Air Temple, cold night wind tickling Aang's cheeks. He sighed, curling himself up into a small ball, his knees pressed against his chest.
"Why does it have to be me? I don't want to do this, Gyatso."
Aang was apprehensive about the whole concept of being 'The Avatar'. He was only twelve, still learning the basic concepts of being an Air Nomad. When the rest of the nomads learned about Aang's prowess, they separated themselves from him. He stopped playing games, and stopped feeling normal. He felt like the pressure was a weight thrown onto his back, something he didn't want.
"That is why you are perfect for this role."
Gyatso spoke softly, looking over to Aang.
"You're not alone in this."
Aang looked up from his ball, making eye contact with Gyatso. He nodded, assuming that he meant he would help him along the way. He looked back over the edge, sighing to himself.
"Yeah, yeah, i know. You'll be there."
Gyatso laughed, patting Aang's back. He shook his head, smiling softly.
"Though that is true, that isn't what i meant."
Aang raised a brow, glancing at Gyatso.
"What do you mean?"
Gyatso looked across the night sky, to the moon, and to the mountains peeking through the clouds in the distance. The stars were particularly beautiful up here, not hiding away from the city lights.
"Every Avatar is given someone who is to follow them, someone who guides them through their journey. Avatar Roku had one, Avatar Kyoshi, Avatar Kuruk, and so on. They are able to tell you the past and the future, and the people you will meet along the way. They are called oracles."
Aang was looking at Gyatso curiously, unaware of this new concept. He tried to picture what this person would look like -- the name 'oracle' made him imagine an entity, not quite human nor magic. No matter how hard Aang thought, he could get the right image.
"Typically, we inform the Avatars of their power at 16, the age that the oracle is given life, but since we are facing a possible war with the Fire nation, you were told earlier. Unfortunately, you'll have to go 4 years with a lack of your oracle."
Aang hummed, eyebrows rising at the talk of the fire nation.
"What is the Oracle -- i mean, what does it do other than tell me the future?"
He stuttered out the question, wanting to know more.
"Well, they aren't an 'it'. Oracles are human, just like us. They can take on any sex, so we'll just say they for now. Oracles are individuals with a connection to the spirit world, and help maintain the balance of the world -- but it's still the Avatar's responsibility to bring the balance back."
Aang rolled his eyes falling backwards onto the concrete floor. It was cold against his exposed shoulder, making him shiver.
"If they're so special, why don't they just be the Avatar themselves?"
Gyatso laughed, breathing out slowly.
"They are. They're just an extension of you -- practically one of your powers."
Aang whispered out a small, 'oh', before closing his eyes and sighing. Gyatso leaned back too, still looking up at the night sky littered with stars. Thoughts raced in Aang's mind, the responsibility of being the Avatar making him sick.
...
The world seemed quiet.
Nothing seemed to move.
This place was like a limbo, and she didn't know how long she was here.
It felt like 1000 years at one moment, the next only a few minutes.
She didn't mind the silence, since she didn't know what sound was.
And she didn't care about the cold, since she had never experienced warmth.
But deep down, deep inside her soul, she did.
And all those feelings ended the moment she opened her eyes.
The morning dew on the grass covered her fingers and her exposed body, the wind blowing against her. A bird tweeted, a bunny frog hopped, and a waterfall rushed. She felt like she was laying there for an eternity, trying to process the blue sky in front of her.
"My dear Oracle.."
The voice had no source, seemingly coming from inside her mind. She shifted her neck, realizing she could move. She sat up, removing her wet back from the grass. Her head groaned with a dizzy pain, causing her to close her eyes tightly.
"The time is right. 5844 moons have passed, and he is aware."
The girl opened her eyes again, looking at the nearby trees. She looked down at her exposed chest, and back up to the sky.
"You must prepare yourself for his arrival in 2 years time. Let the earth guide you."
She didn't know what the gesture meant, but she nodded, shakely standing up. She looked like a newborn ostrich horse, stumbling around the valley.
As she walked around, going wherever the wind took her, she heard a yelp cone from behind her. She turned, looking at the region that the sound cane from. Her eyes landed on a small woman who was staring directly at her. The old woman beckoned her over, and she obliged.
"Oh dear, where are your clothes?"
The woman states, grabbing the lost girl's hand.
"Come on, come on. Lets get some clothes on you and some food in your system."
The naked girl looked back to where she awoke, only to see a tall woman in her place. She bowed, before fading away in the wind.
"Though you were once lost amongst the cosmos, living through temporary lives, you are here to fulfill your most important mission. Find the Avatar, and restore balance to this world."
...
SHORT IK IM SORRY
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Ongaku to Hito March 2023 Issue - Bocchi the Rock! Insights and Interviews with Bandmen
Shinoda from Hitorie:
I’m a big fan of the guitarist who does the arrangement work for Kessoku Band, Mitsui Ritsuo (also known for his work in The Youth, Lost in Time, and la la larks). I’ve been listening to The Youth since I was a teenager, and now that I’m older have I gotten the opportunity to perform shows along with Mitsui-san, on top of getting to go out drinking with him as well.
Before I had watched the anime ‘Bocchi the Rock!’ I had happened to stroll upon the music video of “If I could be a Constellation” from the soundtrack. I had assumed it was just any other old popular song, until I saw Mitsui-san’s name on it. “Holy shit, Mitsui-san is gaining traction?!” I thought, [he laughs]. To top it all off the song was absolutely brilliant. I had been hearing the name ‘Bocchi the Rock!’ floating around a lot at the time, but this song is what finally got me to sit down and watch it.
I had started with the manga, so I then got to really appreciate just how well the anime expanded off of the snail’s pace of the 4 comic. It made me realize just how mighty the anime really is. The creators’ sheer determination to shape it into something people would enjoy runs deep through every aspect of the show, and that’s what makes it such high quality.
Not to mention that it depicts real life. What had surprised me the most were how realistic the octopus rice crackers in Enoshima on the screen were, that scene alone made me feel like I was watching live-action instead of anime. Also the scenery of Shimokitazawa city and the guitar section of the music store and stuff. It made me go “Hey I’ve been there before”. When you actually know the city, it makes you wonder if maybe the girls really are out there in the city rocking out somewhere. That’s the level of attention to detail we’re talking with this show.
The part I especially empathized with while watching was Bocchi-chan’s mentality, the way her mind works. Her mental struggle with people; the way she afraid of certain things when it comes to interacting with people… It all really hit home. I would never my crawl into a garbage pail or hide under a cardboard box to perform as she did but, the meta portrayal in scenes made me realize that I too may shelter my heart.
I’ve always been not so great at talking with people but, I’ve always enjoyed standing up in front of a crowd more. So concerts are nothing but a joy for me. That’s the difference between Bocchi and I. Though it’s true that playing guitar in the comfort of your own home versus performing on stage are two totally different worlds. There’s some things on guitar you can only play at home for some wild reason. I find that skills I’m technically capable of will, for some reason, just refuse to show themselves on stage. Possibly because when you’re aware that you’re standing up in front of an audience, along with the subsequent necessity to align yourself with them and the other performers, it all impacts your performance in a strange way. Bocchi-chan was stressed over this at first too, and I understand her sentiment deeply. I was like “I feel you!”.
After receiving advice from others did Bocchi-chan slowly but surely begin to find her own style and put her own twist on things- this part was really so much like what happens with real bands. By doing music with others do you actually reflect on yourself more. In my case, I was under the impression that I was the best guitarist in the world back when I first joined Hitorie. There, my bandmates politely told me that I needed to practice more, and I realized that in order to adapt to this band I would need to put much more effort in. My naivety chipped away at me. There’s so many things that you’ll never understand simply by mulling all by yourself. It’s all more the reason why doing things with others is so beautiful. That’s the epitome of bands if you ask me.
The most impactful episode to me was episode 8, when Kessoku Band had their very first concert. It was all going downhill, and I was thinking to myself “Been there, done that”. The bass drum flipping over during the intro was so realistic, merely listening to it made me feel nervous, yet then to flip the tables did Bocchi-chan improvise and rip out an ad lib guitar solo. Just wow that was so cool! Bocchi-chan’s talent and potential of which she was never able to unleash alongside the band finally awakened. It was so cool that I cried just watching. I can tell the people making the show have an abnormal amount of passion, they make us viewers feel as if they’re watching an actual living breathing band in action, and it’s just incredible.
Also the music itself is purely and simply great too. Mitsui-san had mentioned in an interview at some point that he had purposely wrote the songs with fewer notes. He refused to use instruments other than the ones the characters use, and he eschewed from letting instruments drown each other out as much as possible. And the fruits of his efforts turned the album “Kessoku Band” into a single collection of an unbelievable amount of electric guitar. Just last year was there discourse and theories on the internet about how guitar had become obsolete and unwanted. Because many artists are skipping the guitar solo and stuff. Yet this album pays no heed to such and is just a raw unadulterated masterpiece of rock.
When I see albums like this take the number 1 spot in rankings, it makes me realize just how much of a farce discourse on the internet is. I’m sure there’s people out there whose interest in rock bands was piqued after watching the anime but, I want people to take this opportunity to start forming their own bands and come on down to see some shows as well. Also, if the anime is going to continue on into the future then I would love the chance to be a part of it. Please let me write a song for ‘Bocchi the Rock!’!
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Takamura Yoshihide from BLUE ENCOUNT:
Our bassist, Tsujimura (Yuuta), had told me about “a cool anime” he had seen, and that’s what got me to watch it. I had spotted the name in Twitter trends prior but I was sitting on the fence, like “It must be good if people are talking about it, maybe I should watch it too”. Then only once I saw the incredible quality of the first episode did I too get hooked.
Bocchi-chan’s shut-in tendencies and negative vibes were striking. Such as playing guitar in her closet, or getting so depressed that she sunk into a trash can. Nobody in real life would actually go to such lengths, yet that's exactly why the exaggerations were so impactful. This kind of thing is only possible in anime, and I love it when people use extremes to portray.
Not only does is it exciting to watch, but they painted the scenery of Shimokitazawa so vividly and realistically that it brought back memories of back when we were in indie band and we performed there ourselves. Between the year 2010 and 2011, we were constantly performing at a venue called Shimokitazawa ReG. Not many people came to see us back then but, when we opened for KISD the tickets sold out off of reservations alone. I was thrilled, yet then on the day of the show only about half the people showed up.
So in episode 8 when due to a storm people who payed for tickets didn’t show up, it really struck a chord. Plus, there really are people who only show interest in the band they came to see, and don’t so much as bat an eye at the other. And how to attract their attention is the number one struggle of an indie band. Playing a guitar solo to do so, as Bocchi did, is one orthodox method. I myself jumped down on to the floor once (he laughs). I just wanted the audience to at least look at one of us, so I just desperately threw myself out there. That’s why I personally really understood how the girls on stage must’ve felt too.
The other part which left a huge impression on me was Hiroi Kikuri. Ordinarily she’s just another sake-loving drunk, yet when she gets up on stage does her other charismatic side show its colors. I think they really hit the nail on the head with this. People whose livelihood is a tad off from the humdrum; people whose sensibilities are a bit strange, they can still become a star. That so the impression I got. They may have exaggerated it, but I do believe this was the kind of message they were aimimg to express.
Also, for indie bands and amateurs, are the managers of livehouses actually big people in their lives. So I thought the fact that they included a relationship between Kessoku Band and a livehouse manager, Seika, was great.
The first livehouse manager to ever support us was someone by the name of Kumamoto B.9 Fukuda-san. Unlike in the anime though, he was a big scary dai-senpai who made chills run down my spine whenever I saw him (laughs). Yet, it was until later did I learn that behind the scenes he had actually been looking out for us, had been taking care of things for our band, and had gotten us a lot of connections. It’s really thanks to people like him that bands are able to grow, slowly but surely. Having someone close who supports you is just so important.
The interesting but difficult part of being in a band is that you’re a bunch of different people all striving for the same goals. Each member of Kessoku Band has such unique personality, they’re all enjoyable, and I must say, that they start off with such a high level of musical ability. Bocchi-chan is absolutely incredible at guitar, and the other 3 are way past the high school level. We could never have held a torch to them back when we were in high school ourselves (laugh). Yet unfortunately throughout my life I’ve seen my fair fill of players whom may be incredibly skilled individually and yet never make it as a band. When it comes down to the aspects that aren’t just raw technique, they run into a wall, such as the struggles involved in creating something together with other people, or the questions posed about how to make their concerts a success. The difficulties and challenges involved in being a band, they’re all represented in episode 12. And that’s what made it feel so realistic. Getting emotional and snapping at each other mid-concert, snapping their guitar strings.. By getting through it bit by bit did Kessoku Band’s concerts improve bit by bit too. All the little things add up and make bands grow.
With that said, if you were to compare Bocchi-chan in episode 1 to her in episode 12, it’s evident that she hasn’t changed much. And I love that. Her shyness is part of her core personality, it wouldn’t just change overnight. Just performing a concert at a shool festival won’t turn your whole world upside down, the next day is just any other old day, and that’s the end of it. I absolutely loved how that was the ending for the show. Despite life not dramatically changing, obtaining a single, small valuable experience may just impact one’s mentality and the way one interacts with the world even just a teensy tiny bit. That’s why it felt so relatable, and natural to watch.
I haven’t read the manga yet so I have no idea what will happen next but, if it’s to follow the same patterns as other classic media then I’d imagine they’ll strive to become mainstream. However, I’m also interested in just seeing more of whatever antics the gang gets up to at school and at the livehouses.
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Takeuchi Kiyoka:
Strolling down the streets of Shimokitazawa, passing by a giant merchandise store on her way to a concert venue, Goto Hitori. As soon as she arrived at her destination “STARRY” did her face turn pale, as she internally screamed the words “Is this hell on Earth…? “. The venue “STARRY” of which Kessoku Band makes their base of operations is modeled after the real life venue “Shimokitazawa SHELTER”. When I first entered SHELTER I too had shared the same sentiment as Hitori going down that dark stairwell in the first episode. The accuracy astonished me.
The anime is stuffed with countless moments, spectacles, and sights of which anybody who’s interested in bands has surely seen in their life at least once. The streets of Shimokitazawa are obvious but, the insides of SHELTER were even depicted with such detailed accuracy. From the stairwell when you first enter, to the big clock, the wall covered to the corners in band posters, and the arched steel pipe chasing the walls. In reality the steel pipes are a blackish color while the anime instead opted for an eye-catching red, plus the size of the backstage area is slightly different but, even though they did switch things up a bit for the sake of the anime, the overall faithful re-creation and the sincere delicate process with which they made it is just pouring out of the screen.
The home base of the alcoholic rocker Hiroi Kikuri, Shinjuku FOLT, too is lovingly modeled after the existing venue, Shinjuku LOFT. The black and white checkerboard floors, the screen veiling the stage, the stage passes plastered across the backstage walls- they’re all sure to evoke a strong sense of familiarity for anyone whom has ever been there.
Countless anime have been incorporating real life places into their stories over the years but, what makes ‘Bocchi the Rock!’ unique is that they potray the places and environments surrounding Japanese band culture with minute detail. There’s never before been a “band anime” that explained about how livehouses are treated as restaurants, or about their ticket quota. They don’t merely display a place, they go the extra mile to depict the various affairs and experiences which accompany band life. That’s what gives the show such a high resolution, that’s why it feels as if the members of Kessoku Band are drawing breath before you.
Things may be adapted for the animation but, a reality that brings real life and entertainment together is truly within ‘Bocchi the Rock!’. So I can’t help but wonder if maybe the girls are out there rehearsing in a studio right now, or maybe they’re off doing some part time work somewhere, or what if they’re planning their set list for their next show- these flights of fantasies of mine just naturally take off. Yet more so then anything, do I think this. To a livehouse I want to go, to a concert.
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Talking to friends literally yesterday, I got a sudden fixation on wafflejokes, so let me tell you how delighted I am at the amount of Mr. Waffles in The Man Who Stopped Laughing #7!
As always, spoilers ahead! (Also a drowning and some assassinations, plus a theory at the end.)
I don't know anything about Manhunter, so while this issue opening with an AA meeting is somber, it does also give a little speedrun on what her deal is.
Joker also doesn't know about Manhunter but he doesn't much care.
The poor crowd is also unfamiliar with both of them and thinks it's a street performance, including this cute volunteer Joker is eyeing. I freaking love when Joker just makes up names for people. Engaging yet dismissive.
Uhhhhhh after this panel the cute man is perfectly fine don't worry about it ok
I'm not sure what that gas Joker hit Manhunter with earlier was supposed to do, because she's back up shortly. Joker looks weirdly alluring here when she threatens him with her glowstick.
lmao I love the broad comedy beats in this comic.
And oh SHIT WHO IS DRIVING?
I've had Mr. Waffles for three issues, and if anything happens to him, I'll kill everyone in this comic and then myself.
There's a brief segue to Jason in Gotham PD jail like there was last issue, just beats to let us know what he's up to, I guess. He's aware that there's still a Joker out there, so I'm not sure why he hasn't escaped? And now "someone" is having him transferred to Blackgate? Mystery! Anyway, here he is being manhandled:
Back in Los Angeles, Joker has taken the wheel and is still trying to get to the dang airport.
I love them. 🥰
Joker blows the helicopter to bits, and then
He's so eager to escape LA, but maybe his sourness on Gotham is coming through. He left for a reason, after all, and is only going back to take care of the Other Joker.
Meanwhile Manhunter has recovered from being nailed by a freaking cop car, and I guess it's the straightforwardness of "lady, you need to lie the fuck down" that's so funny to me.
Poor unsuspecting motorcyclist.
Then there's an unexpected diversion to Killer Moth, who is headed for Los Angeles?!
We last saw him giving information to Jason, before Jason stabbed him in the hand in exchange, so I'm not sure what he's doing here. But getting to LA sure is important!
His idiot loser vibe is going strong.
Meanwhile:
Rosenberg, you are a prince for validating my experience at In-N-Out.
I love Joker bickering with his hench rebound about traffic. 😭
We get to see Joker doing a lot of stunt driving when Manhunter is on their tail again.
Joker is so conflicted about LA! He loves that it's supposed to be superhero-free, yet earlier he said he hated the lack of pushback?
Anyway, here's more banter between Joker and his hench boytoy:
And another cute hench nickname.
Joker's idea, of course, is wildly dangerous!
And naturally she does!
But then we cut to our old friend, Hit-By-A-Train-(And-Not-The-Fun-Kind) Joker, who wakes up and sees he's in Grundy's care.
:(
This Joker showed up in Punchline: The Gotham Game #6, and I thought it took place after he was healed, but now I'm thinking he helped her out in the period before he got hit by the train, when he was dressed up like Batman investigating his old haunts. Not that it really matters to anyone but me! (That issue also sort of addressed how Punchline fell out with Joker… but not really? It's still really abrupt and disjointed how it happened. Eh. It's done.)
Back at the highway chase that I would really like to see in live action or really good animation, we have-- you got it-- more wafflejokes interaction! Until Manhunter ruins it. >:[
The crash is pretty cool, though. (Lookit the lil Waffles!)
And here's where we learn the important info that Manhunter is not a vigilante with a no-kill rule.
Hee, lookit his lil nose sticking out.
Here's hoping that Mr. Waffles is conscious and comes to the rescue! (If you're wondering if I've already attempted writing wafflejokes smut… yeah absolutely.)
Based on the description of the next issue, the rescuer is not Killer Croc. It looks like the other Joker will probably encounter Croc in the Gotham sewer. Finally making friends again? ;_;
As always, we now have the backer, which this time revolves around…
Unfortunately most of Joker's fellow rogues are uninterested in helping.
Imagining Scarecrow phonebanking sdghalgksgh
After he clears the primaries, Joker discovers there are enemies of his candidacy.
And so Joker continues to campaign (by bribing his constituency) and allow his doubles to be murdered until…
"America has run out of clowns" made me laugh. "Jarvis Poker the British Joker?!" had me laugh-crying for reasons I still can't quite grasp.
And so the story basically ends with Joker suddenly the King of Britain?? (With shades of Emperor Joker.)
I miss the more surreal backers, but this one still gave me some good laughs.
For a last note: in the main story we've now been spending more time with the Joker who left Gotham, and since he hasn't given any signs that he's the fake, I'm starting to settle into the theory that maybe there isn't a real and a fake Joker? Maybe the somber Joker we saw at the end of his 2021 series was so weary post Joker War that he found a magic user and asked them to get rid of the parts of him that were stopping him from being the Clown Prince of Crime anymore, but because magic often has a catch, it wound up splitting him into two versions of himself. This theory also stems from that scene in TMWSL #1 where Joker is killing the crime bosses because they "lowered the standard of crime" and "made it inelegant," which he may think of his double because Sad Joker contains all the doubtful, miserable, vulnerable parts of himself. That's why he's an "imposter": he represents everything the Joker isn't supposed to be.
But who knows how long it'll be until I find out if this right. 🫠
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Ahsoka Episode 4 Spoilers/Thoughts
This was...a big one, to say the least.
Also note to self do NOT open tumblr while in the middle of watching an episode or you will be spoiled for that epic ending *sobs* oh well...
SPOILERS BELOW THE CUT
2/2 Star Wars characters repairing ship wiring on their back...v nice
Sabine, you realize none of you would be in this position if you hadn't squirreled away with the map in your tower...jus sayin...
"Can I count on you?" Yeah I'm gonna say that's a no...
Sabine loading her blasters is super cool but also giving me flashbacks to trying to reload staple gun or nail gun cartridges and hoping you don't launch them into your face in the process
Natasha plays Sabine's nervous energy very well and Rosario is showing Ahsoka's own unease, reserve, but also very caring concern, extremely well. I really wish we could see the history between these two--animated in between series anyone??
I wonder why Dave doesn't bring up the fact that Ahsoka owes Ezra her life. It's only focused on what Ezra means to Sabine, but he means a lot to Ahsoka too.
Huyang's lil hands on hips...you can tell he's a full practical build here.
Speaking of...I REALLY want to know if the practical robot was used for this fight scene, or if they switched to someone in a costume/CGI. It seems like the HK droids are people/CGI but I could be wrong about that. Either way, go Huyang go!
It's always a treat to see Mandos and Jedi fighting styles together. And Sabine's Wonder Woman vambrace block was great.
Ahsoka's white lightsabers are so stunning in live action.
"May I make one request of you both?" LISTEN TO HUYANG. HE KNOWS WHAT'S UP. "Stay together." And WHAT ARE THEY NOT GONNA DO SMH
"Mom, how come I have to do what I'm told and you don't" lmao
Jacen is so spunky and I'm so glad Dave is having him be a full part of the series.
Carson Teva my man! And Brendan!
BUT WHERE ARE ZEB AND KALLUS. WHERE ARE OUR MARRIED BOIS
"Faith? I lost that a long time ago" Baylon's backstory pleaseeeee. Who was his master. How far did he get in training. Was he knighted? Did he have a padawan pre-order 66? Where was he during the war? Where was he during Order 66? When did he walk away, and what did he walk away to? What are his goals now? How did he find Shin/why did he want to train her? We desperately need a comic or a book here Lucasfilm
The graphics for the countdown clock (and the droids manning them) are super cool
Shin dear lord can you be any more dramatic
Sabine and Shin running off like rabid wolves while Ahsoka is just like, oh please, do I really have to deal with this right now
Ahsoka > any inquisitor, dead or alive, magic or real, anytime, any place, any age LOL
Ugh the parallels to Obi-Wan and Maul are impeccable.
So I totally knew Marrok would be a nobody/throwaway character but a nightsister necromancer ghost??? Did not see that coming at all. Eerie
Shin seems honestly disturbed by seeing Marrok fall. I wonder if the body that was used was someone she knew or had a connection to.
The lightsaber usage in this show is so interesting and such a unique blend of samurai techniques, OT trilogy techniques, and more realistic stabbing and swiping and slicing motions. I love the choreography and cinematography of Shin and Sabine going at it as well as how the trees and landscape are used in their fight.
Looks like Shin got her dramatics from her master. Sitting there with his hood up for effect lol
Definitely getting flashbacks to Ahsoka's sass in her fight with Maul in TCW.
Baylon's textured armor is so incredible. I want to see him leading a 13th century cavalcade
Can he read people's minds? Or does he do in depth research like Thrawn does so he knows the weak points of his opponents?
“One must destroy in order to create.” No. You are incorrect sir. One must die. One must morph, must change, in order to create. But that is different than destroying.
Again with the one saber. It's such an odd choice for Ahsoka to do that, and it honestly feels like an excuse for Baylon to be able to overpower her later. I don't quite like it.
It is very interesting how Baylon views Ahsoka, and tells her that her legacy is death and broken promises. What exactly does he think her legacy is? Because that is Anakin's legacy, not hers (at least through Rebels). What has happened since then?
He looks so sad, honestly.
There's way too much leaving oneself open to attack in this episode.
The fight scene definitely looks slowed down a little, and it's a little clunky, but man Baylon is brutal with his saber. Again why is Ahsoka not using both of hers to combat is strength??
Either there's a trailer shot that never made it into this fight, or Baylon and Ahsoka fight again. I'm missing where she kicks back against one of those tall rocks and flips over. That was such a cool shot.
I honestly can't believe Shin was able to block the whistling birds lol. That would be an intense hit to the face. Also I love how much of the shots and sparks in these shows are practical. It makes it feel so much more real.
The map burning Ahsoka is wild. It makes sense but very unfortunate.
Hot damn Ahsoka! She definitely was tapping into some anger there. In real life that hit to the back of the head should have seriously injured Shin. Filoni is really being gritty and brutal with the fights in this show, they're raw and dirty in ways that the trilogies were not.
Aaaaaand while I know Ahsoka isn't dead yet (there's no way Filoni would kill off the title character halfway through a first season) holy cow that was heartwrenching
Baylon is a master manipulator. He makes Maul look like a babbling teenager. And yet he doesn't seem to derive any twisted pleasure from it. He just is doing what he thinks he needs to do.
I'm sorry Ahsoka had WHAT to do with Sabine's family dying???? In the Purge??? Ugh geez that's awful.
Gah DAMN it Sabine!! C'mon girl!! Bad decision, bad decision!
WHAT IS THIS GREATER GOOD BAYLON
I would have loved to see Obi-Wan face off against Baylon. The quiet patience and calm strength...too much for one room
He is just not done digging at Ahsoka is he. Again, master manipulator, but why?
Huyang's little magnifying glass!
Dave definitely nailed the lighting in this show. Even if the volume is still apparent in some shots, the lighting is finally dialed in and soft and realistic and atmospheric. That shot of Baylon after decimating the map is epic.
Yeahhh, Hera, ya'll might want to skedaddle right quick before you get....oh, too late....
"Mom? I've got a bad feeling." Me too kid, me too.
"Lady Wren, Lady Tano" *sobbing* Hera make sure Huyang makes it back pls
This transition.
Oh boy
I know what's coming bc I got on tumblr too early but OH MAN
ahhhh it's so gorgeous
it's here, it's finally here and it's BEAUTIFUL (The World Between Worlds, who did you think I was talking about, Anakin? ;)
I'm KIDDING ANAKIN IS BEAUTIFUL TOO OMG I CAN'T BELIEVE MY EYES
"Hello Snips" I can't I truly can't
"I didn't expect to see you so soon" so is she dead? Dying? Disassociating while drowning? Dave if you kill Ahsoka off in this show I will never forgive you
She is in shock omg look at him she is reunited with her brother, her master, her friend!!
We think--DAVE WHAT DOES VADER THEME MEAN. DAVE, SIR, HOW DARE YOU KNOW HOW TO LEAVE US ON SUCH A CLIFFHANGER IT IS UNFAIR.
Welp I have no idea what to do with myself until next week and we find out what's going on here. I swear if that's not the real Anakin I will be beside myself.
Let's get ready for flashbacks folks. What an episode.
#ahsoka#ahsoka tano#ahsoka show#ahsoka series#ahsoka spoilers#ahsoka series spoilers#ahsoka show spoilers#huyang#sabine#sabine wren#baylon skoll#shin hati#morgan elsbeth#hera syndulla#jacen syndulla#carson teva#some light ramblings#somelightramblings
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I’m willing to admit that Song of the South isn’t exactly ideal in it’s depiction of of black people in the post-Civil War era. It’s a very Disney-fied version of an old-time Southern plantation. That much is obvious.
That said, I’m certain that no one involved in the film intended it to be racist. It doesn’t depict Remus or any of the other black characters in a negative light. In fact, Remus is probably the smartest, wisest character in the whole cast. By contrast, the white characters generally tend to be very dumb and/or annoying, and in some cases bordering on disturbing.
I’m gonna be honest- I don’t actually enjoy the live-action parts very much. The plot relies way too heavily on important things being unsaid, and as I said, I find many of the characters off-putting in one way or another, especially the kids. In contrast, I find Remus and Tempy to be very likeable and charming.
It’s the animated segments that I really love. The animal characters are delightful, especially the villainous Br’er Fox, and the animation is among the best the Disney studio put out in the 1940s. The setting and characters have almost endless potential, as evidenced by how many stories Joel Chandler Harris collected, and especially the Disney comics, which have been going on in some form or another for decades now.
I think it’s very likely that if Disney had only adapted the stories into animated form, and didn’t bother with the live-action parts at all, the characters wouldn’t be half as controversial as they are now.
So it really does pain me to see Splash Mountain being replaced. I totally understand that Disney doesn’t want to appear racist, but I’m pretty sure destroying a beloved theme park ride that millions of people have enjoyed for over three decades isn’t the way to do it.
I adore Splash Mountain. I’ve been a fan of it long before I even heard of Song of the South. It’s fantastically well-made, from the music, the animatronics, the sets... the whole thing just oozes rustic charm. I don’t fully understand what it is about it, but I find the ride almost magical in a way. (It might have something to do with my Southern roots- my grandfather on my mother’s side grew up in small town in Arkansas during the Great Depression, and loved bluegrass and folk music.)
Whatever it is, I actually like it better than Song of the South in many ways. I’m going to miss it dearly. Between this and that awful Mickey ride they’ve shoehorned into Toon Town, I’m not sure I could ever go back to Disneyland without breaking down and crying. I might just have to go to Tokyo Disneyland instead- provided that they don’t replace their version too, which hopefully will never happen.
Is that what you want, Disney? To make people cry because you destroyed cherished childhood memories?
I like The Princess and the Frog quite a bit, but it doesn’t inspire me the same way Br’er Rabbit’s world does. So I’ll admit that I’m a bit biased. I’m sure there are young black people out there who love it a lot, and appreciate that Disney went out of their way to give them a princess of their own.
The problem is, is that giving Splash Mountain a new coat of paint isn’t really going to fix anything. It’s clear to me that all that will happen is that the explicit references to Song of the South will be removed and replaced, and everything else will remain the same. Most likely the old animatronics will be singing songs from The Princess and the Frog, and I really can’t imagine how they’re going to do that without it being extremely awkward, especially considering that most of them are tied to the plot.
I’m certain that as soon as it opens Tiana’s Bayou Adventure is going to be known as “the ride that used to be Splash Mountain”. Uninformed people are guaranteed to make snarky comments like “Hey, did you know this ride used to be racist??”. The shadow of Song of the South is going to forever loom over it.
I can’t help but wonder if anybody’s opinion was considered before such a drastic (and likely poor) decision was made. Was there a poll among Disney’s black and mixed-race employees asking what they thought? Or was it just a bunch of white executives who suddenly came up with the idea? Is this all just a huge PR stunt to make the company look good?
I’m also suspicious about how it took them so long to decide to do this. Correct me if I’m wrong, but I never heard of any significant objections raised regarding Splash Mountain until a few years ago. You’d think that, back in the 1980s, somebody would have said, “Hey, you might wanna reconsider building this”. Heck, it was even featured in Disneyland Adventures as recently as 2011, with Br’er Rabbit and everything! You can still buy the game on Steam right now!
I guess what I’m saying is that, when it comes to racism in Disney media, it ain’t no Peter Pan.
I just wish Disney would own up to Song of the South and stop pretending it doesn’t exist. They should just rerelease it already, so that people can make up their own minds about whether or not it’s racist. Keeping it hidden away just makes it seem worse than it really is.
Putting it on Disney+ with a warning at the beginning would be enough. But if they wanted to go the whole nine yards, they could make a full-length documentary about it, explaining the movie’s history and its context, along with interviews with African-American celebrities and historians. Whoopi Goldberg could narrate, since she’s already well-known for introducing cartoons with problematic depictions of non-white cultures, some much more blatantly racist than Song of the South ever was.
I even came up with a title they can use: A Man Named Remus.
I suppose I’m being a bit apologist about this whole thing. I’m a white guy after all, so you should definitely take my opinion with a grain of salt. I just don’t want something I love to disappear forever, that’s all...
#splash mountain#song of the south#uncle remus#brer rabbit#brer fox#brer bear#tw racism#racism#unpopular opinion#disney#disneyland#animation
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One Piece Live Action (2023)
** Not a review, just wanting to write down some thoughts about media I've consumed to maybe look back on in the future starting with the One Piece live action
I had very low expectations about the live action for One Piece since it was revealed to be in the works, but I ended up getting the hots for Mackenyu and Emily Rudd as Zoro and Nami respectively the further I got into the pilot season. Like I'd happily let any of them (Zoro or Mackenyu or Nami or Emily Rudd) beat me up to the ground and more. Some parts of the pilot season was too exposed in my opinion (Garp and Koby), but it doesn't remove its charm from staying faithful to the source material. Jeff Ward's portrayal of Buggy, who I like to call 'Booger' 'Boogie' 'Boobie' among other things, was one of the biggest highlights of the pilot season for me. I like that they went for a more dark approach (think Pennywise) in the development for the character instead of comic relief from the anime/manga. And Jeff Ward fucking delivered and ate the role of an evil dark clown up. It felt like he didn't care about what he's doing to Luffy and the gang, nor did he care what his own crew was doing to them. The show is already full of comic relief, so bringing in a darker character provides that contrast between tension and release.
The show definitely helped from having most if not all decisions regarding the live action had to go through Oda, One Piece's creator and father, before being approved which I think past/present/future adaptations should do to have the potential that One Piece is bringing to the table.
The live action was noticeably different than the anime/manga, but I don't think that it's a bad thing. You can still remain faithful to the source material while still producing something noticeably different with both minor and major changes from how the story is played out.
#one piece#opla#onepiece#zoro#luffy#usopp#sanji#monkey d luffy#one piece nami#one piece sanji#emily rudd#inaki godoy#taz skylar#mackenyu#jacob gibson#one piece live action#iñaki godoy#jeff ward#netflix one piece#roronoa zoro
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God! I’m currently working on explaining this blasphemy!
First read around I understood why and thought it was entertaining. But going back on it, this was unnecessary. It’s causing more harm than good. It paints him as a wild animal that can’t be control.
Sure, it comes back to the whole kidnapping by villains. But like, it’s a teenager! And he’s being showcased in a major event that he’s not stable.
So of course nobody should have been surprised that he got kidnapped. Especially when making it clear as day that not even trained heroes know what to do with him.
Which makes his character even more amazing and inspiring. Because, here’s a child who’s put in the spotlight both good and bad. A child who has to constantly be pressured to be “perfect”. But same time people sees him as a monster. The society itself doesn’t see him as a person but as a weapon.
And the whole thing about Best Jeanist being a hero that “conforms” “trouble youths” always hit a nerve with me. Constantly trying to push ideals onto a child to fit into society.
Deku has the obvious being rejected by society for being quirkless. There’s the whole “victim” who eventually stands up for himself.
But there’s nothing like having your every move judge at every waking moment. To have grownups question your every thought. Where how easily you can be seen as a villain if you break an unspoken rule.
It really does hurt to see him go through all that. But I enjoy the few moments where he explores who he truly is as a person. He’s caring, encouraging, hard working to get what he wants. He’s also very friendly.
Then we also get to witness that he doesn’t know many society acceptable behaviors for kids his age. Like activities and gestures that boys his age tend to do. He’s very isolated.
For example: many people when meeting me and knowing my story say that I’m “a shelter child” all because I don’t understand or know common things that people outside my situation knows. I didn’t know there was a thing called Comic Con until college. A lot of my peers were shocked that I didn’t even know that or common events within my own city. I grew up in NYC but know absolutely nothing about it. A lot of people are shocked at the fact I don’t have a common accent to tell what part of NY I’m from. I never knew about the Nintendo or Dinsey store. I basically only ever knew about the outside world was through the internet or documentaries.
So I understand and see the same signs in Katsuki. Of course he doesn’t agree with not using his quirk in public, because everyone always telling him how amazing his quirk is. So he shows it off to hopefully get praised for doing good. The few times he seems to have a social life is with people that lives within walking distance from school to home. He does not travel. He does not know anything outside of his bubble.
Katsuki is basically a “shelter child”. I hate that term. So while going through UA his bubble grows. Izuku isn’t just a childhood friend he has mixed emotions about growing up. Izuku is also like a comfort blanket for Katsuki. Izuku is someone he knows, so it’s easier to go to him when something is wrong.
And as Katsuki has a person, he’s also learning knew things. His bubble is no longer small. It gets to where he doesn’t seek comfort from Izuku, that’s where I believe is when he starts to try to understand his emotions. Like why go to someone who no longer serve their original purpose? I think Katsuki then gets hits with a realization that his life feels empty.
He finally has “friends” and is getting comfortable with himself. He starts trying to make amends for past actions. There’s a borderline between obsession due to that’s the only thing you know and relearning an emotion that was always there.
I’ll use myself as an example for that part. I didn’t I liked girls the way I know now to be. I fought with myself the whole time. Thinking how “we’re just friends” to justify my actions. Always agreeing with my female “friend”, giving her gifts, even giving flowers and calling her pretty. She thought I was weird. Then later in life when I finally understood myself more and my emotions, I learned this “friend” feeling was actually a crush.
Hence why I love the idea of Katsuki coming to terms with himself and eventually realizing he always had a crush on Izuku. And then having those emotions grow but trying harder than ever to bury them. It’s so poetic. Now with this new volume I’m super excited to see if he will finally confess. After all, he is Katsuki Bakugo and he always has to be first.
… SHIT! Lol I rambled lol 😂 I’m not editing or taking this down. Either way, oops 😅
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Disney now truly 'a decaying mouse'.
The above comment was coined by a disgruntled Marvel comics fan who cancelled all of his considerable conscriptions to the comic firm when they sold to Disney.
And ...how very right he was. Because that is a perfect description for Disney, a company which for all its faults was nevertheless guaranteed to put a smile on the faces of viewers and created a starry wonderland for children. Its animated films were classics and Beauty and the Beast (original version) was Oscar nominated.
Fast forward to the 21st century.
Adam Driver has confirmed what I suspected; that originally Disney never intended Ben Solo to return, or for his character to be redeemed at all. He was hired to play the villain.
It was Rian Johnson who recognised both his potential as a character and Adam's talent for expressing emotions just with his face. Rian Johnson who saw the chemistry between Adam and Daisy. Rian who removed the mask, Rian who coaxed superb performances from Adam and career best Mark Hamill. Rian who continued with the message of hope that was the heart and soul of SW.
Rian whose film was practically erased so Ridley could strut around like Captain Marvel - another odious man hating Disney 'heroine'.
And so DLF could continue with their ultimate goal; the erasure of the Skywaker/Solo family and their replacement with a character seen as vastly superior ...simply for having the right genitalia.
The JCF will be delighted. Their insistence that Finn is meant to be Rey's love interest - if she has one, I seriously doubt that - has been confirmed. They will revel in their smug hate of Kylo - and Adam, who has committed the ultimate sin in being a white male.
Looking back at TFA, all the signs were there. Rey's origins and costume - similar to Luke's. Rey claiming the legacy sabre to the theme of binary sunset. Her instant bond with Han. The hug she got from Leia. Accompanying Chewie on the Falcon. Even her ability to speak Shiriwook!
Rey was created as Ben's replacement, the 'good girl' opposed to the 'bad boy.'
But, I ask: why?
Why did Disney want to kill off ALL of the Skywalkers and replace them with a nobody? Why not make Rey Han and Leia's long lost child?
Why erase Lucas's legacy family?
The only explanation I can have is they wanted to create their own characters. Free from everything Lucas, whose franchise they desired, but not his characters.
Ironically, Finn fans who accused reylos and Kylo fans of 'racism' choose to ignore that the real victim of racism in this trilogy is Loan Tran. Her treatment in TROS was a disgrace - but you didn't see Kelly whining on social media, unlike their hero. Even more ironic, Disney are the 'champions of woke' yet remained curiously silent post Boyega's revoltingly misogynist comments on social media.
Oh, how I hate being right. Right that DLF wanted SW but not the Skywalkers. They believe firmly that the franchise will continue to be a huge success without the Skywalkers, thank you very much.
Maybe it will. Maybe there are enough Finn and Rey fans out there who will make her forthcoming film a hit. But two things make me ponder...
The box office takings for The Little Mermaid, Indy 5, and of course TROS.....were not as huge as they thought they'd be. And there is a LOT of controversy already surrounding the live action Snow White - and it hasn't been released yet!
And....remember the poll? Kylo winning the popularity contest by a landslide?
I do.
Good luck, DLF. You're going to need it.
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