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lokiondisneyplus · 3 years

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Holy crap. Look at Kate Herron's shirt. When the Loki director pops up on Zoom, she's donning the most glorious image anyone will see since we laid eyes on Alligator Loki: A Teletubby wearing the Loki horns. Are the Teletubbies Loki variants? Sure, why not!

"I got it on Instagram," Herron says. "There's an amazing comic book artist and he designed it. He made it into a T-shirt for me because I saw it and was like, 'That's incredible. Can I get it for the press junket?'"

Herron, no big deal, just pulled off an MCU miracle. Entering a mammoth franchise with, notably, some of Sex Education's best episodes under her belt, the director deftly brought a plot involving multiverses and Richard E. Grant in a cape and superhero mumbo-jumbo to brilliant, beautiful life. Following Loki's tear-jerking, mind-bending finale, the series has been dubbed by critics and fan's alike as one of Marvel's best efforts—which is no small feat. Of course, we needed to ask Herron how she stuck the landing. Following the most epic finale you, me, or any Teletubby can remember, Herron talked to Esquire about the Miss Minutes jump scare, filming the finale's introduction of He Who Remains, and why she won't return for Season Two of Loki.

ESQ: How are you doing?

KH: I'm good. I think I feel very relieved that I don't have to sit on the secret of He Who Remains anymore, It was a very big secret to hold, but for an important reason, right? Because it's such a good character to be launching. So yeah, I feel good.

ESQ: Loking back at your old interviews, you have such a good poker face when you're avoiding spoilers, but you're also incredible at giving aggregator crumbs.

KH: I play a lot of board games, so you need to be quite good at strategy and poker faces so people can't always read your hand. So I think weirdly board games have prepared me more for working with Marvel than anything else.

ESQ: I have to start with the Miss Minutes jump scare. What went into the decision to make her a memeable, creepy apparition in that moment?

KH: I love horror, and my executive, Kevin Wright, knew that. Me and him were talking about Episode Six and I remember that he was like, "Oh, maybe you could do something creepy of Miss Minutes." And I immediately was like, "We have to do a jump scare!" Because I haven't got to do a good jump scare in anything yet and I really wanted to, because a lot of my friends are horror directors. I was like, "I can't let them down." So I was really excited to have a shot at doing a jump scare. And Miss Minutes, it was really fun testing it because we'd kind of bring different people into the edit, me and Emma McCleave, the editor, and we'd just play it for them, watch them, and check that they were jumping when we cut it.

ESQ: One thing that I think is getting missed in all the craziness is that we see a peak moment of the love story between Loki and Sylvie. Where does the finale leave the companionship that they found in each other?

KH: When I started the show, that was always in the DNA of it—that Loki was going to meet a version of himself and they were going to fall in love. And that's honestly what drew me into the story, because I directed Sex Education. I love stories about self-love and finding your identity and your people. Loki is such a broken character when we join him, and seeing him go on this amazing journey with all this growth and finding the good points of himself in seeing her—I think that was very beautiful. It's also paying respect to the fact that Sylvie's in a very different place to him. She hasn't had the Mobius therapy session. She even says, in Episode Five, "I don't know how to do this. I don't have friends." You really feel for her because she has been on the run and her whole life has been this mission.

It's almost funny because these characters are thousands of years old, but it's almost teenage the way they both talk about their feelings for each other. I think everyone can relate to that, right? In any new relationship, there's always that kind of awkwardness and like, "Oh God, am I too keen? The important thing was the hope—like when Sylvie and him kiss, I think it is genuine and it is coming from a place of these feelings they have for each other. Obviously she does push them through that door, but for me it was a goodbye and it was with heart. But it's kind of a goodbye in the sense of like, I care about you, but I'm going to do my mission because that's where I'm at.

ESQ: I would pay for you to direct the Sex Education episode where Otis falls through a portal into the multiverse, into the main MCU.

KH: He really looks like a Loki as well, which is so funny. I always thought that. I was like Asa does look like a Loki. It didn't come to pass or anything, but it would be interesting to do a Sex Ed-Marvel crossover. I wonder who all the different characters would be within the MCU, but it would be quite funny.

ESQ: You're right, he could pull off a teenage Loki.

KH: Yeah, like a teen or a very young ’20s, maybe. But it was just funny because I was like, "Oh yeah, he looks a bit like Tom." I wonder how they could do it. I'm sure they'll find a way to do a crossover anyway.

ESQ: Can you just take me back to filming with Jonathan Majors? And you capturing him in such a compelling, quirky, scary way—I'm sure your direction was such a big part of that.

KH: I was just so excited because Jonathan is an actor that everyone was so excited about. He's like a chameleon in everything he does and he's so talented. I just feel as a director so lucky to have worked on this because I feel like I've got to work with some of the best actors out there. And when you're with Jonathan, you know you're in the presence of just someone really magnificent. For me as a director, it's giving him the space to play and feel safe. Because we filmed it all in a week, but it was a lot to film in a week. So I think it was really about creating a space where he could have fun and find this character because he's going to be playing him for a long time.

ESQ: What went into the decision to introduce us to the good guy first?

KH: I remember in the script, he comes up the elevator and it was so casual. I was like, "Oh man, that's so fun." And then Jonathan, when he plays it, he's relaxed. And I the thing he used to talk about a lot was that this is a character who's been on his own for a long time. Because at the beginning, we introduced him in a space in the universe that feels like this very busy, loud place, but actually, when we see the Citadel, he's surrounded by the Timeline and he's very isolated. Even in his costume with [designer] Christine Wada, for the idea of his outfit, he's a character who's existed for multiple millennia. So it's like, OK, let's pull from lots of different places so you can't necessarily pin down which time or which place he might be from. Also the fact that his clothes look comfy. They were like pajamas because he's living at home. He loved the idea of the office [being] the only finished part of the citadel and that the rest of the citadel was like this Sunset Boulevard kind of dusty, dilapidated space. And just again showed that he probably just keeps himself to his office. All those elements definitely fed into Jonathan's performance in terms of balancing the extrovert, but also the introvert of someone that would be living by themselves and only talking to a cartoon clock.

ESQ: It really is incredible how you pull a nail-biting finale with this battle of wits and dialogue.

KH: It was really exciting because I feel like Episode Five was a lot of fun because we got to play into all the joy of the different versions of Loki, but also just the fact that it was our big usual Marvel third act, right? Like it was where our big spectacle was as they were fighting this big monster. But I love that our finale bookends, right? We began with a conversation and we ended with one.

ESQ: I also loved that there was no end-credits scene—I think it makes the ending that much more impactful. Was there ever an end credit scene on the table, or any kind of a stinger?

KH: I think no, because weirdly, we never went after the kind of mid-credit sequences. I think we always just were thinking just of the story and where we knew we wanted it to end. For example, Episode Four, originally Loki was deleted and then we went straight to him waking up. And it was only in the edit I was like, “I think it'd be really cool actually. We should move that scene to mid-credits because then we'll really feel like Loki has died." Because if I watched that moment and then it went to the credits, I'd be like, "What?!" And then when we were talking about the best way to talk about Season Two, we were like, "Okay, well, let's do that like a little mid-credits at the end because that is exciting to confirm it in that way." I'd say we found both of those in the edit just because we wanted to kind of do it right and have a fun nod to something that Marvel does so well.

ESQ: Is there anything you can tell about the future of the story you've told here—or even where you personally would like to go with the studio or otherwise going forward?

KH: Yeah, so I'm just on for Season One. So I'm so proud of the story we told. I mean, it was amazing getting to set up the TVA and take Loki on this whole new journey. And I mean, I think we've left so much groundwork for his character, and as people see in the comics, there's so much more to be delved into. And I just am excited honestly to just see where all the characters go. Like, who is B-15? What did she see in those memories and where did Ravonna go and where is Loki? I think for me, we've set up these questions and I look forward to seeing them being answered as a fan in the next season.

ESQ: Absolutely. Well, can we please work on the Asa Butterfield Loki?

KH: I will call him and I'll be like, "You want to do some crazy Marvel crossover?"

#Kate Herron #loki #season 1 #director #interview

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snowflake-of-destruction · 3 years

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let's hear about FFVIII seifer, if you're still doing this XD

Why I like them: You know my tastes. A green-eyed man is introduced throwing fireballs around, is kind of a condescending jerk but in a fun way, instigates deep conversations on high ground while staring at the sunset...Well, before we even get to villainy, immolation, and redemption arc, I start going “Is this a favorite character?” I’m joking...kind of. Some of that does factor in, even the fire.

Okay, so my favorite thing about Seifer’s arc is that, in the limited focus he’s given, he’s complex and layered from the beginning, and his villain arc is a clear and fascinating illustration of “No man chooses evil because it is evil; he only mistakes it for happiness, the good he seeks” ….with a side of brainwashing.

Let’s break this down:

What are some of the words used to describe him by those that know him (by himself, by Squall, by Fuu and Rai)? Romantic. Idealistic. Sensitive. He is the one who believes in making a difference in the world--not just as a wish or goal, but as an imperative to do what your heart says is right even if it’s going to cost you--where Squall is just follow-the-orders-and-do-the-job. If you’re already reading this and objecting, I’m not saying Squall doesn’t care...obviously he does, defrosting Mr. Go Talk to a Wall and getting him to a place where he admits how many layers of mask he wears is his character development...but Seifer isn’t just a hothead. He wears his heart on his sleeve.

Don’t get me wrong. I am not trying to deny that Seifer can be an abrasive, self-serving, hypocritical jackass sometimes, who can fight dirty, wants to “wreak some havoc,” and has a history as a bully--though, gentlefolk of the jury, I submit to the courts that he puts on a tough act like Squall does and they are both different flavors of trying to mimic toxic alpha male--but let’s not forget that some of his establishing character moments are throwing out his future to disobey orders because he sees that the higher-ups have possibly misjudged the situation and civilians could be in danger, and, again, going AWOL because he thinks Squall and Rinoa could be killed. And he calls himself the white knight and holds up a code of honor until the end, even though it gets twisted. He is about duty and honor, with honor even over duty.

Oh, this was only going to be the beginning. I haven’t even begun to touch on what I would want to touch on--this is just surface personality and the beginning of the game before we even get to joining Sorceress Edea, and even then not all I would say-- but this post isn’t actually supposed to be my Ted talk on what you missed if you just think of Seifer as a recurring boss fight. Let’s move on.

ONE MORE THING ACTUALLY. Even though we see a lot of Seifer at his worst, you can use Fujin and Raijin as a mirror. What do they say near the end of the game if we paraphrase/summarize? They knew pretty early on, before even the senseless slaughter and torture era that Seifer was going down a dark path with the sorceress, but they knew it wasn’t him and stayed with him, not because they agreed with his actions, wanted power, or out of fear, but to take care of him and try to break through to him--and not because they are saints, but because he, despite what had happened in the past year, is the type of person who deserves and inspires that kind of loyalty. Let’s think on that.

Now the rest goes under a read more, because I am going to keep rambling and be wordy

Why I don’t: He can be an asshole, and he’s an asshole in an embarrassing way. As in, if one is trying to say he’s not the little punk his KH counterpart is, you remember he still uses the insult chickenwuss (though that is a legacy insult/nickname since he’s known Zell since childhood--and, fyi, Squall uses it too) and he had a little gang in school. Even once he’s a military commander of an evil army set on world domination, he has some moments where his level of petty undermines him.

Favorite episode (scene if movie): The Dollet mission

Favorite line: Sorry, not sorry that the following is my favorite exchange of lines and that the prison torture scene is another of my favorite scenes. For context, Seifer has captured Squall, has him hanging up on the wall in crucified hero imagery, implied to be shirtless even though his character model isn’t because they talk about scar tissue or lack thereof from a recent shoulder injury/Squall being stabbed in the chest/shoulder area. Seifer has been electrocuting Squall for information. By this point, I might as well have put the whole scene here. Also, I am now going to blame Squall and Seifer text boxes in FFVIII for my own abuses of ellipses...

Seifer: " I was hoping you'd be there, Squall. So... how'd I look in my moment of triumph? My childhood dream, fulfilled. I've become the sorceress' knight."

Squall: [internal monologue] ...Sorceress' knight... ...His...romantic dream...? But... Seifer... Now, you're just a…[Out loud] "... torturer."

[Squall passes out.]

Seifer: "What did you say? [Steps closer] Passed out cold, eh? This is the scene where you swear your undying hatred for me! The tale of the evil mercenary versus the sorceress' knight!”

This isn’t just me all “mmm, tension.” Seifer has passed the moral event horizon, and it’s not just faceless NPCs that are collateral damage anymore. We’ve seen him on screen torture the protagonist, who is also one of the only people who he’s shown to have a real bond with that goes beyond superficial. Then we get this and see Seifer thinks he’s the good guy still, on a noble mission where he’s had to make painful sacrifices, and Squall is a representative of the power-hungry evil. Seifer’s been playing a different game, and had his will twisted via magic.

Favorite outfit: The Amano art where the white coat is cast off and he’s wearing the simple black shirt and black jeans under it. Symbolic? Maybe. I wouldn’t give up the coat though. I love the long white/gray coat, the outer embodiment of wanting to wear the white hat, but the desire easily getting tarnished, and the red cross that turns into a sword and becomes Seifer’s symbol and soon to appear other places, emblazoned nice and big on the sleeve. It’s the Cross of Saint James. TRADITIONALLY red represents the blood of Christ, the three lilies represent the honor of the apostle and reference Christ as lily of the valley, and the sword shape represents the torture that St.James suffered before his murder. HOWEVER, my opinion is that here it’s more vague/altered symbolism (For starters, there are other gods not the Christian God in this world) with a side of “looks cool.” We still have something that clearly calls to mind a mission from on high, innocence in the lilies, blood and blood cost, and then war/violence with the sword. And I love it.

OTP: Seifer/Squall. I should not even start, but lest you think I am just in it for kinky torture scenes: We have these two who, in the beginning, are generally callous or mocking toward everyone, but make each other laugh/smile, see who each other are underneath and describe each other in “soft” terms even if they tease each other for it, repeatedly check in on each other to see if the other is okay, respect each other’s opinion and skills, and...you get the idea. In the words of Zell Dincht, I thought you two were rivals, but you’re all buddy-buddy.

Pause for a second and let’s just say first impression. That opening fight where they scar each other’s faces? It takes place outside Balamb Garden and the area is shown so we see they are alone. Squall passes out. Squall wakes up in the infirmary within the Garden base. Squall has to explain what happened; people don’t already know. This kind of implies after Squall passed out, Seifer, bleeding from a head wound himself, picked Squall up and carried him home, allowing himself to collapse only when Squall was being safely tended to, because he’s that extra. This is his first (okay, second, after fireballs and face slashing) action in the game even though it’s offscreen. I mean, he could have also just called for help/ran for help, but that’s less fun.

Seifer is so concerned with being a badass, but he’s admits to Squall all he’s ever wanted was to be the fairytale knight, not a mere soldier. Vulnerability and confession he wants romance....with the first time it’s brought up in game being while they are watching the sun set together, the traditional Square Red Sunset of Shipping.

Seifer hesitates to defy orders, not for himself, but until he sees Squall is with him. Even though there were other “children of destiny” who all came from the same orphanage, Squall and Seifer were the ones who were never apart, never adopted until it was by a military/mercenary training program, and, even though it may speak more to brotherly than romantic from some angles, there’s a feeling of being the same, knowing each other down to the atoms, adopting an us against the world mindset that trumps trying to best each other when it comes down to it because they are the only constant. When Squall has his breakdown/ breakthrough of why he pushes people away/doesn’t let himself care/tries not to need anyone because people leave/are taken from him and he is scared he isn’t worthy of love and happiness until Rinoa challenges him, this may seem like a dismissal of Seifer, but you can also look at it from “I had no friends or family. I didn’t even have interest in speaking to anyone. I strived to be an unfeeling machine, because all emotion is pain...But also I couldn’t go 48 hours without seeing Seifer.”

Yeah, yeah, we know their main form of hanging out was beating the tar out of each other, but sometimes, especially in older media, this was its own brand of subtext. For more on how Seifer miiiight just view sparring let’s point out that “Isn’t this ROMANTIC?” and “Kneel” as a less easily interpreted as innuendo version of “I want you on your knees” are battle quotes even in Kingdom Hearts sooo draw your own conclusion.

We get a line where Squall makes it clear these were friendly matches looked at as pushing their limits beyond what they are allowed to in sanctioned spars, and he feels prepared to take on anything now because of Seifer. Is it healthy communication in real life? No! Is this real life? No! Plus, the facial scar was an accident, pretty clearly...on Seifer’s side...I could write another essay on how Seifer draws first blood, but it’s because on Squall’s failed block, AND THEN SQUALL GETS ANGRY AND RETALIATES WITH CLEAR PURPOSE AND MAKES THE OPENING SHOT INTO THE FIRST SIGN GOOD VERSUS BAD GUY ISN’T SO CLEAR CUT (even though they both shouldn’t have been going so hard in a friendly training match to begin with).

Seifer’s later, repeated threats/expressed desire to give Squall additional scars once he goes evil? That is a different animal, and a horrible one, objectively. Not objectively? No comment. Okay, one comment. Mark you as mine. Two comments. He knows Squall’s lost some memories and he can’t stomach being the next thing forgotten so Squall needs physical reminders.

Hmmm, I was supposed to be talking about the ship, not just the sparring and scars. We can wrap it up with a Marge Simpson. “I just think they’re neat”

BUT ONE MORE THING

Squall’s jacket when he becomes Leon in Kingdom Hearts. His outfit is mostly the same, right? Except the back of the jacket now has a red patch of an emblem (of Rinoa’s angel wings, not Seifer’s cross...for the OT3 feel), and his fight with Sora he throws a fireball like Seifer’s signature. Just, you know, if you want bonus references/feeling.

Brotp: Fuu and Rai. They are willing to commit war crimes with this man, nurse him back from death’s door, and go into exile with him if he can’t return to a normal life even after a redemption arc. This section deserves to be long, but I am beginning to get talked out. Don’t take that as devaluing the friendship though. I’m glad he was allowed to keep his ride or dies in Kingdom Hearts. FRIENDSHIP! They love him, ya know?

Head Canon: What we see of him at the end of the game is a temporary situation and after he heals and refreshes for awhile he’d go back to Balamb and face consequences for his actions, and probably insist on consequences instead of leaning into “an evil sorceress bespelled me and slowly took my free will.” No hiding away in the wilderness. No crossing into and living his life in Esthar. No, “but in the end I broke free and would have been an active, onscreen part of saving the world if Square had let me join the party!” He would insist on being cast into a deep, dark cell. Squall uses pull to get him pardoned, but not before just, flat out, yelling at him for being a martyr.

Unpopular opinion: He did love Rinoa. It may have been a “shallow love,” but he wasn’t just dating her to pass time or because she played into his damsel who needs a hero mindset. There was emotion. He was prepared to die for her and Squall in Timber, and almost did--only being saved by Sorceress Edea...which wasn’t a kindness, but it all worked out in the end. Sure, he gets mind-controlled into using Rinoa as, basically, a human sacrifice and it isn’t Rinoa he wants stripped and brought to his room when we’re taking prisoners, but he cared about her. He does taunt her about their past relationship, but we’ve already established this is just part of his communication skillset. Yes, I will elaborate more if asked, though it’s more feeling based than text based.

A wish: If there’s ever a sequel, let him have put out the good in the world that was his dream and be seen as a hero. Let us see a matured and peaceful Seifer.

An oh-god-please-dont-ever-happen: My one fear if they ever remake FFVIII instead of just porting it, is that some of the creative team have said they like the fan theory where you are dead part way through the game and the rest is a dying dream or purgatory. It’s creative stuff; I will say that. It’s not my favorite, and I don’t agree, but those kinds of fan interpretations when they go in depth are super cool. PLEASE LET THE INTEREST IN IT JUST BE THE SAME AS MINE OF THINKING IT’S CREATIVE BECAUSE MAKING THIS CANON WOULD BE SO, SO BAD FOR EVERY CHARACTER.

5 words to best describe them: stubborn, misguided, paladin, romantic, petty

My nickname for them: I don’t really have one

#seifer almasy #seifer x squall #squall x seifer #such a long post and still not all or even communicated that well probably #you don't have all the facts the facts are i love him #tina-nina

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bluerosesburnblue · 5 years

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Yeah. I just like to give a benefit of a doubt (and like you said. KH doesn't always have the best writing). But I'd also say you're probably not wrong. There's a surprising amount of old people who have caused a lot of problems or have questionable worldviews (Yensid. Eraqus. Xehanort. Mickey. Ansem. MOM ect. Adults are shifty in KH. Except you Donald, Goofy, Leon, Cid, Tifa, Aerith, Sully and Mike ect. You guys are cool). What you said got me thinking. The MoM was really the one who created-

entire system for Keyblade weilders: Bequethings. Rigid traditions. Strict views. No questioning what has been passed down. This system has had quite the impact on Keyblade wielders. Not a lot of it good. Eraqus got easily manipulated into letting Xehanort rig the test to fail Terra. Then later tried to murder Ven and hurt Terra. All because of his inability to confront darkness in other people w/o resorting to violence. Aqua was also guilty of this when she was going to go after the evil -

family in Cinderella all because she sensed darkness in them. For all she knew they could have been good people struggling w/something like Terra (they weren’t but that’s not the point). She wasn’t trying to be malicious but I definitely believe she was acting in a way she thought Eraqus would. I also think they all relied so much on the system (instead of critical thinking and their hearts) that when it didn’t provide a good answer they failed each other and themselves until it was too late.-

the Keyblade wielders from the past don’t seem to be doing any better. They keep repeating the same mistakes over and over. Instead of forging their own path and trying to figure out what’s right, the Foretellers keep clinging to the MoM who abandoned them after giving them separate jobs in secrecy. Their devotion and inability to think for themselves or for the children who looked up to them caused so much death and destruction. I doubt the Dandelion leaders will even be able to fix things -

as much as they hope to (I guess nobody really learned my your heart be your guiding key back then except for the rare few). Basically we’ve seen how the MoM created system has either always been detrimental or got warped (not that he cared). Masters Mickey, Aqua and Riku aren’t anymore capable then Sora is. In fact I think they still have a lot of issues. Mickey’s guilt. Riku’s blindness. Aqua’s ptsd and loner streak. The only time the day has been completely saved was when the dull ordinary-

Keyblade weilder unlike any other (aka Sora) came rushing in to break all expectations and traditions of how things should go and instead does what needs to be done. Sora is the one big Keyblade players who doesn’t fall into the need to conform to the MoM system. Even Riku got a bit influence by it when he received the Master title. The Foretellers represent the old broken ways that have no mercy w/shallow views of worth. Sora represents the merciful loving way that can lead all into the light

Just to be clear, I don’t think that Yen Sid is actively malevolent at all. I just think that he’s not as smart or wise as everyone makes him out to be, is a horrible teacher, and is honestly kinda lazy. He’s not sitting there going “Haha! How can I ruin this child’s life!” but he is overestimated by pretty much all of the major protagonists because he’s an old, mysterious wizard who used to be pretty good with a key-sword

And yeah, that’s what I’ve been getting at with the MoM vs. Sora stuff! How MoM made the traditions that people have been using for at least a century but almost must be longer, and how Sora flies in the face of all of them

The Master set up a system designed for him to manipulate. A strict Light-Good-Darkness-Bad dogma, a chain of command where the apprentice must be completely subservient to the master, and a no-questions mentality. Now, maybe he just did it to make his plan for his own six apprentices work, but given how we see him talking to YMX in Re:Mind I get the sense that the longevity of these traditions is exactly what he intended. It would make manipulating further and further down the chain that much easier. He passed these ideas on to his apprentices, who passed it on to the millions of theirs, who would continue passing it on even when almost all of them were wiped out. The Union Leaders have a strict rulebook for crying out loud!

And I think even the mantra of “may your heart be your guiding key” could be designed to manipulate. After all, wouldn’t most people’s hearts tell them to do what their master asked of them? If you truly loved your master, wouldn’t your heart guide you into acting in a way that you believe would make them proud and please them? It certainly seemed that way with the Foretellers

And that’s where Sora gets interesting. He’s self-taught. He has no notion of any kind of structure among Keyblade Wielders because for a while he thought he was the last one left and even once he’s proven wrong… the last known people enforcing the structure are dead (Eraqus), literally trying to destroy the world (Xehanort), retired and scooting around the universe avoiding all human contact (Yen Sid), and zipping around the universe trying to find other ways to help (Mickey). When Sora hears “may your heart be your guiding key” he has no real master to impress. His desires are simple: protect those he loves. So that’s exactly where his heart leads

And you would expect Riku to break it as well given his Dark streak… until you remember that Riku’s been traveling in close contact with Mickey since Chain of Memories. Mickey’s practically Riku’s Master, even though it was Mickey’s Master who did their Mark of Mastery. Yen Sid passed the tradition onto Mickey, and Riku would probably be getting them from him. The only thing that they ever did was come to the joint conclusion that Actually Darkness Can Be Good Sometimes, but they never reevaluated the rest of the tradition

And I love His Royal Highness Michael Theodore Mouse as much as the next person, but he’s not immune to slipping back into the old ways. I mean, how could he with such a strict teacher anyway?

The tradition vs. innovation theme is one that I really hope they explore in the next arc and really treat with respect. Because the first seven Keyblade Wielders returning to face off against the Universe’s Biggest Unchosen One is just too good of a thread to ignore

#anon you are sending me these way faster than i can reasonably reply to them #yen sid would be such a mood if he wasn't so incompetent #like i'd retire to the mysterious tower but also if an old friend was starting shit then i'd get up and fix it #and then go right back to my tower in the middle of fucking space #anon asks #liz answers

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