lately i've been feeling like i've hit rock bottom, but everyday it seems there's still a few feet left to go.

I fleshed out my idea for a new ocverse complete with a very big cast of characters, so I drew the rest of the main group to go along with Polaris, who I drew a while back here. So now her friends are complete too :) 

There are a bunch more characters for this idea I eventually want to draw too, there’s a lot I’m really excited to explore, but for right now here’s this batch! 

Like I explained in the Polaris post, I’m naming them all after stars/astral bodies, so from left to right their names are Saiph, Aldebaran (or just Al), Bellatrix (or just Bella), and Mira. 

In terms of lore and worldbuilding I don’t have everything figured out yet, but you want more general info I’m putting it under the cut here, but feel free to ask stuff too^^

Some background info, the magic system is one where every person gets One ability. It may be the ability to control an element, to be strong or fast, to make yourself invincible or to fly, but it will only be one ability. The power isn’t learned, but everyone has one, you just have to unlock yours. What determines it? Your worst flaw. In some way the person’s power will be based on whatever their worst trait is as a person. They also typically have their own weapon to go along with the power, but this one gets to be their choice.

So, people who have unlocked these abilities tend to try to become adventurers or heroes with them, if possible. It’s common enough that guilds form to support them, and the main characters are part of one themselves, with Polaris being their newest addition. I don’t have a proper name for it yet so excuse me while I just call it “The guild”. Now as for the characters themselves, again, from left to right

Saiph is named after the star in the Orion consolation, the name of the star literally means “sword”. He’s the deuteragonist, Polaris being the protagonist, and he’s the one that pulls her into the guild to make friends even if it took some convincing. He was raised by the guildmaster and sort of sees her as his grandma, he’s generally a really cool and nice guy but his defining flaw is that he’s incredibly hot-headed, so it’s only natural that his power would be fire-based (To match Polaris’ ice too). His power activates the second he unsheaths his sword and can’t be turned off until it’s put back.

Following him is Al, named for Aldebaran, the brightest star in the Taurus constellation. Taurus is also the namesake of his father, a knight who Al can’t help but compare himself to. Due to his father always having a time consuming job, Al was left in the care of the guild since he was about 12 or 13, and again he couldn’t help but compare himself to other people, it became a complex. His name literally means “Follower”, he’s always following others, always in their shadow. That’s his fatal flaw, so his ability manifested as shadow powers, now he literally lives in shadows.

Bella is next, her namesake is the star Bellatrix, another star in Orion, the name means “Female warrior”. She’s the most skillful when it comes to doing jobs, and very elegant when she fights. Despite her professionalism on the field, Bella is, for lack of a better term, a tsundere. She has a lot of barriers build up around her heart, her deepest flaw is emotional repression, because she’s afraid of the pain that comes with vulnerability. So her power manifests as painlessness, she doesn’t want to feel anything so she literally wont feel anything. It can be turned on and off, and can be an advantage in a fight of course, but it has its downside- it’s very very dangerous to lose the ability to tell if you’ve been seriously hurt or even mortally wounded.

And lastly is Mira, named after a star in the constellation Cetus who’s name means “Wonderful”. She was also raised in the guild alongside Saiph, who she sees as a big brother. She’s close to everyone though, she’s sweet, kind, friendly, she’s the glue that holds their team together. She lives up to her name, she’s wonderful. But she’s also incredibly ditzy, not exactly the smartest, she’s prone to messing up and she’s very silly and goofy. She’s generally just... Well, a huge airhead. So her power is control over air, which she uses in conjunction with her emeici. 

And along with Polaris these guys make up the main group, but they’re still only five characters out of a guild of about 25 that I intend to draw sometime. And even then that’s just out of the guild! There’s 105 total! I don’t know how many I’ll actually draw but I’m excited, even if I have my work cut out for me. So these are my new characters, thanks for entertaining me everyone :p

Inspired from birth ｜ Emptiness that you want to hug

Dialogue with the Bungei Prize-winning author.

Tono Haruka, who received the Akutagawa Prize (1) less than a year after the 2019 Bungei Prize (2), and Sakurai Atsushi, the frontman of BUCK-TICK, who continues to play an active role in music culture after their major debut in 1987 and who this September celebrated 33 years from that day. As if real father and son, as artists of different genres - what do they feel and get from coexistence? That which was not told before; what I always wanted to hear. Here, for the first time, is presented a dialogue that pushes creative boundaries.

ᅠᅠᅠᅠᅠᅠᅠ Resonant feelings

Sakurai: I didn’t think the day would come when we could talk like that. I am very grateful.

Tono: Likewise, thank you very much.

— Sakurai-san, when you read Tono-san’s novel, what impression did it leave on you?

Sakurai: Cultivation shocked me. Not in the sense that I didn’t like it - it is rather akin to art that I like to touch. Regarding the Catastrophe — thanks to the Cultivation I am tempered enough for Tono-sensei’s books; and even though there are a lot of hardcore scenes of sex and violence, it didn't shock me too much. While I was reading, he pulled me in and repulsed me - this both disturbed and soothed. Although it is rather ridiculous to describe my impressions of the novel that way.

Tono: It's hard to share your impressions, isn’t it?

Sakurai: After reading Catastrophe, the emptiness of the protagonist seems to leave an aftertaste. She resonates with the emptiness in me, as if I want to embrace something passionately — but there is nothing to embrace. The feeling was like that. I was the kind of child who started to really get into the festival after it was over. Not having fun in the midst of the fun, but thinking about it when it’s already over. And as I grew up, nothing changed. First and foremost, I come to terms with everything, so [for me] the “emptiness” of Tono-sensei’s novel was refreshing.

Tono: Many people mention the word “emptiness” (решите, что вам больше подходит — “emptiness” или “void”). And the main idea of Catastrophe speaks of “the emptiness of a new era”.

Sakurai: Tono-sensei gives the impression of a composed and calm person, and this is imposing on the main character. It seemed to me that the hero contains not only emptiness, but also a certain composure.

Tono: It’s a bit surprising to hear that Sakurai-san has an emptiness. I have listened to BUCK-TICK since elementary school and I think that this band has more of a well-established dark worldview rather than emptiness. Their world is original, which completely sets them apart from other bands, don’t you think?

Sakurai: Been listening since then, really? Thanks. I am very touched.

Tono: My work couldn’t be called bright either, so maybe [their music] subconsciously influenced me.

Sakurai: Dilettante question, but — The Cultivation and Catastrophe are not about personal experiences, they are a product of the imagination, right?

Tono: Yes, that’s right. I was not describing my own experience, but I designed and took everything from imagination. It is much more interesting to write, thinking about what you yourself have not experienced or what you don’t know about, because you can discover something new for yourself.

Sakurai: That is, before you start working, there is no fully-formed concept, it is formed step by step in the process of writing?

Tono: I sketch out something like a rough draft, but when I start writing, I move away from it, and the result is something completely different. It seems that I am writing it myself, and then suddenly something unexpected appears [in the text], which confuses and complicates everything, but this only makes it more interesting.

Sakurai: Something unexpected — for example?

Tono: In Catastrophe, there is a girl named Irori who gets scared at one point. Before starting the work, I thought about including a child somewhere. But when I was already writing, I surprised myself when, at an unexpected moment, she hid under the bed and watched the hero.

Sakurai: Yes, it happens. Could it be that the story itself is rejecting [the planned] in the process of writing? There are deviations from the original design, and in the end it turns out completely different. These changes are fun, it’s great.

ᅠ Life and art

Sakurai: Although not a first-person novel, do you have the same sudden madness and cruelty as the protagonist, Tono-sensei?

Tono: I think I’m a very decent person. I don’t fight people, I don’t stay up late. In that sense, the main character and I are completely different.

Sakurai: So this madness is purely imaginary?

Tono: It doesn’t really happen. This was not conceived in the characters, and yet from time to time they did things that should not have been done, or found themselves involved in unexpected events due to some minor misunderstandings. So I could, in the heat of the moment, do something rash. I still have some kind of crazy thing in me, and this could have affected the characters.

Sakurai: As I read it, it worried me if you were experiencing what you described, or if you are going to experience it in the near future. It was constantly spinning in my head. Perhaps it bothered [me] from a different point of view, not as a reader.

Tono: There is almost nothing from my life or personal experience in this work. The location of the Catastrophe is Keio University (3), and I also studied there. Is that the issue? I have not participated in such events and do not plan to. *laugh*

Sakurai: Thank goodness. *laugh*

Tono: It’s hard to make a story interesting just by describing how the characters sleep and go about their day, so you have to weave in some twists and turns.

Sakurai: There’s a font of worries in there. Very stimulating. Because of this, when I was already finishing it, it felt a little sad, because I wanted to read on, but it seemed that the end was close.

Tono: Of course, as the saying goes, “This is where everything ends”.

Sakurai: How would you, Tono-sensei, suggest to read [this book]?

Tono: How should I put it... I don’t want to impose on readers [thoughts] like “I wrote with this intent” or “This book needs to be read this way and that way”. I do not want to limit the potential interpretations. I would be happier if they read it on their own, calling it boring if it was boring, or interesting if it was interesting.

Sakurai: It's very courageous.

Tono: If I was debuting as a teenager, it might have been different. But since it happened when I was already 28 years old, I do not take readers’ reactions to heart and am not afraid of it.

Sakurai: II only recently came to this. Probably in my fifties, somewhere around the last three released albums. In my youth, I was still that little tyrant, digging in my heels, so that everything was my way. Now it all seems somewhat extreme. Now I think: “Listen as you like”.

Tono: Do you look up the listeners’ impressions?

Sakurai: I don’t want to worry about [reviews on] social media. Not in the sense of “I don't care,” but in the sense of “I don’t want to worry”. So personally, I am not involved in checking such things.

Tono: Well, I’m checking it. I’m trying to figure out, in general, how people read it. It doesn’t affect how I write, though.

Sakurai: Oh, just to confirm [your thoughts], correct? A sensible approach. Of course, in my case, there should be no paranoia at all. You start taking everything to heart and fears will arise, so it’s better not to get carried away.

Tono: Companies conduct surveys of who use their services, don’t they? It’s kind of like that. If all the experiences are completely different from my expectations, it is worth considering how I write.

Sakurai: A top-notch entrepreneur.

Tono: No, I’m a newbie. *laughter* Not a year has passed since my debut...

Sakurai: A very courageous newbie, from where I am looking.

[At our next meeting, I will already be

the winner of the Akutagawa Prize]

Sakurai: Last December he attended the BUCK-TICK concert in Yoyogi. Even before the Catastrophe was published in the magazine. After the performance, we were able to talk a little in the dressing room, and when he was just about to leave, Tono-sensei said, “By our next meeting, I will win the Akutagawa Prize”.

Tono: Ah, yes, he did. It was probably terribly immodest to say that. But if before you roll the dice you declare that it will come up six, and then it really comes up six, it seems that something amazing just happened, right? I wonder if they will ever say: “Just like he said”?

Sakurai: And the promise was fulfilled. It couldn’t be cooler. He was wearing a mask, so it was difficult for me to see his expression, but I saw that dazzling confidence.

Tono: I often say these things even if I haven’t finished my work yet.

Sakurai: It was the last push, right? Thank you for coming to the concert then.

Tono: How could I not? And the next concert will be the day after tomorrow (September 21*)? I bought a ticket.

Sakurai: Is that true? Wow, I am suddenly nervous.

Tono: Is this the first time you broadcast a concert online without an audience?

Sakurai: We performed without an audience at WOWOW once before, and I had no idea how much tension to expect. And a few days ago we had a film-concert shoot — in a large hall, without an audience. Of course, there was no applause or shouts of joy. After each song there is a complete silence.

Tono: Not very encouraging, right?

Sakurai: Right now I'm trying to get inspired by myself. Even now, during the coronavirus epidemic, there are many things you can get latch on to. I realized that even these days I can be on the same wavelength with the energy of my fans. It was not an ordinary feeling. You also can’t do autograph sessions and meetings with readers right now, correct?

Tono: Yes, there are no autograph sessions yet, and the conversations are taking place online. The Akutagawa and Naoki Awards (4) usually serve a lot of food, but this year there was no such thing, and the number of guests was limited.

Sakurai: Very sorry. Still, it must have been an amazing experience.

Tono: The day after tomorrow the sales of the new album “ABRACADABRA” will start, right? What does it look like finished?

Sakurai: After Tono-sensei debuted as a writer, we exchanged messages with him, and it gave me courage. Or if not courage, then determination to write and juggle words. I think it showed itself in the album. Perhaps I’ve managed to open - more precisely, to throw open the door to a vocabulary that I had not used before.

Tono: It seems to me as well, that you succeeded.

Sakurai: Moreover, now I have the strength to use those words.

Tono: Any desire to write a novel?

Sakurai: No way.

Tono: I would read it even if it was very short.

Sakurai: I think it would take an incredible effort from me.

Tono: You were writing song lyrics originally, correct?

Sakurai: Yes, I’m writing. Music has always been on my mind. Although in elementary school I was often praised for [written] reviews of what I have read.

Tono: It was exactly the opposite for me. I was completely unable to describe these impressions. I couldn’t even set it up.

Sakurai: This is amazing.

Tono: I couldn't understand what kind of impressions they were talking about. No matter what I read, everything seemed to me “Well, okay”, but you can’t call that an impression.

Sakurai: In some interview it was mentioned that you were a member of a band when you were at university.

Tono: It was a copy-band, there isn't much to talk about. But Cultivation has a character who plays drums in a band, so that experience influenced the novel.

Sakurai: I’m even a little happy.

Tono: I did a lot of things, but for the most part I gave it all up quickly, so writing is my longest-running occupation at the moment.

Sakurai: Since when have you been writing?

Tono: I started somewhere after I turned twenty, so it’s about seven or eight years old by now. I thought that being on the other side [of the book] was a completely different matter. Like, shouldn’t I become a creator myself and start giving shape to things? Perhaps BUCK-TICK influenced this in some way from the very beginning.

Sakurai: And then a novel ended up being written.

Tono: Yes.

— Did Sakurai-san know that Tono-san was writing a novel?

Tono: The first time I told him about it was when I won the 2019 Bungei Prize for my debut.

Sakurai: I’ve heard something [about this] since he graduated from university, but was amazed when he suddenly made his debut as a writer. However, I was looking forward to [the release of the book]. What kind of work will it be, could not wait to read it — something like that. And I was amazed a second time when Cultivation came out. How did you feel after finishing work on this novel?

Tono: I gained confidence and I decided that I could make it to the final round. I didn’t know, of course, how it would go in the future, if I would end up regretting it.

Sakurai: And he wrote to me about it.

Tono: Yes, that happened. I wrote “I got to the finals”. It was still cooler to report this after receiving the award.

Sakurai: And the coolness of the statement that “next time I meet I will be the winner of the Akutagawa Prize” then went off the charts.

Tono: This is just the beginning.

Different hobbies, same tastes

— This year BUCK-TICK celebrated 33 years from the date of their debut — without breaking up or changing membership of the group. What is the secret of such longevity?

Sakurai: Patience. Group work requires patience. The others and I, by the way, we often say this. But it seems to me that writers are have it more difficult in terms of moral, because they work alone. You have to evaluate yourself. When you are in a group, there is always someone who will express their opinion.

Tono: Perhaps so.

Sakurai: The writers of the old days appear to us to be some kind of alcoholics and drug addicts, down on their luck, with a ruined life — but now people are different.

Tono: In our era, being a writer, you can support yourself with more than just creativity, so in this sense the profession is more reliable than before. And I don’t drink much at all. And you, Sakurai-san, drink a lot, right?

Sakurai: Yes. I am one of those who seek salvation in alcohol. *laughter*

Tono: By the way, do you still read lots of novels?

Sakurai: Recently I reread Mishima Yukio again (5). And also [books] by Numata Mahokaru-san (6) and Taguchi Randi-san (7).

Tono: You’ve loved Mishima Yukio for the longest time, right?

Sakurai: Yes, quite true. It's not just about books — I’ve watched YouTube videos about Mishima Yukio and Kawabata Yasunari (8), and they really are very interesting people.

Tono: I haven’t read Yukio Mishima at all. My preferences in literature are very different.

Sakurai: What is your favorite writer, Tono-sensei?

Tono: When I was just starting to think about the novel, I had no idea how to write, and started by imitating the prose of Natsume Soseki (9). Have you read it?

Sakurai: I love his Heart very much. But now you probably don’t have time to read.

Tono: Right. But they often say that you need to read more, so I think about it anyway. Sakurai-san, do you study other artists’ music?

Sakurai: I’m a slob, so I’m not really up to date, so to speak. But good things still find their way to me. I can catch it on the radio when I’m driving, or hear it somewhere by accident. The youth of today like Kaze-san Fujii (10), don’t they?

Tono: Wow. A bit surprising.

Sakurai: You probably like something harsher, right?

Tono: I love King Gnu (11). Mentioned this in an interview for the monthly Bungei Shunju (12). Many were surprised that the music favored by young people and the traditional image of the Akutagawa Prize are not related.

Sakurai: King Gnu is great. I bought their CD as well. Just like that, I found out about King Gnu when I accidentally heard them. They have such an interesting lead singer.

Tono: Iguchi Satoru-san is interesting, yes. On Twitter, I would send links to [my] videos to anyone, even to the Pope himself. And when I appeared at Music Station, I stunned everyone with my descent down the stairs.

Sakurai: Showed up wearing sandals, yeah. *laughter* Do you watch a lot of TV?

Tono: From time to time. I saw your collab with Shiina Ringo-san at Music Station. “Elopers” is a great song, very powerful.

Sakurai: Really? I am very happy.

You can't lie to yourself

Sakurai: Has the third work been written yet?

Tono: Yes. The events transpire in an institution that raises people with supernatural abilities. The main character attents it along with the rest, tries to awaken superpowers in himself, but since he does not possess them, he gets no progress. This is the story I am writing. It will differ from the two previous works in meaning.

Sakurai: Is there a deadline?

Tono: I want to submit it to the editors by early next year. You, Sakurai-san, also have deadlines, right?

Sakurai: I have deadlines, of course. Release and tour dates might be pre-determined and songs should be worked on accordingly. And I will stubbornly work on them until they tell me: “That’s it, you can't put things off any longer”. However, I still try to keep within the appointed time.

Tono: Are there any serious challenges when you work?

Sakurai: It's very difficult to work when I’m drained. If you try to force something out of yourself, you get only lies, and then it turns out that you are insincere with yourself and with others. You can’t lie to yourself. But with a bit of personal experience and imagination, on the other hand, you can make very good progress.

Tono: You have to rewrite everything a lot, right?

Sakurai: Depends on the song. Sometimes I have to rewrite over and over again, and sometimes I write the first word that comes to my mind and everything is ready. Most often, some kind of shape may emerge first. How is it with you, Tono-sensei?

Tono: More often than not, I have one scene at the beginning, and I start writing based on it. At that time, I do not yet know how the story will develop, I have only scattered fragments, and as they are combined and edited, I am finally getting the feeling that the world of of this work is acquiring its finished form. By the way, I had some trouble coming up with a name for Cultivation, and I was given one piece of advice, do you recall?

Sakurai: Ah, yes, but in my opinion, it was not very good...

Tono: When I asked “How do you come up with names?”, You replied, “It should express the essence, but at the same time cover the whole thing. That word would fit the best”.

Sakurai: Wow, I put it remarkably well. And [I said that] to the future Akutagawa Prize winner, such arrogance. *laughter*

Tono: Even though I didn’t really understand how to apply this advice in practice, I still relied on it.

Sakurai: Cool title, isn’t it? Even though I said there were some disturbing moments when I was reading Cultivation for the first time, I think it read very cleanly. For example: “To my delight, I managed to look great. <…> I just wanted to be beautiful” — here, as it seemed to me, the words are very good - fresh and clear, without unnecessary embellishments.

(2020.09.19)

Sakurai Atsushi, musician. Vocalist Buck-Tick. 66 years of birth. New job: 「ABRACADABRA」

Tono Haruka, writer, winner of the Akutagawa and Bungei awards

END

What kind of plot lines and main characters do you like?

This is...a very big question, anon, and I feel like I can’t encompass it fully without going on for a very long time, because while I am very predictable there are a lot of different things within that predictability range that I like, and sometimes I like unexpected things, and really my list of narrative kinks when you factor in things like plot and style is as long as my arm. 

But like, a few things that come to mind as sort of...characteristic Lise Bait in a work of fiction:

Depressed and/or fucked up protagonists. If your protagonist isn’t a mess of mental health issues then what is even the point!!! 

Ends-justify-the-means protagonists. This one is definitely not an always - I’m picky about it, and how it works, but I do really like a ruthless protagonist who has a very definite end goal and will do a whole lot of bad things getting there. Bonus points if the thematic angle is the question of when it crosses the line.

Mirroring/parallels, particularly between a protagonist and their antagonist. I’m a sucker for parallels. They make me lose my mind every time. Shadow/reflection parallels are even better. Dark mirrors! Distorted reflections! Like, I know the “we’re not so different” thing gets a lot of flack, and I understand why, but at its base it’s something I find very interesting, particularly when it doesn’t come with a straightforward rejection or repudiation of that comparison.

I want people to be uncomfortable. I want there to be questions. I want there to be recognition of the fact that it’s not as simple as “one person made good choices and one person made bad choices.” I want the parallels to be uneasy and not entirely resolvable. 

But also just like. Narrative parallels and reflections. Cyclical time, things that have come around once coming around again. Not just parallels between characters but parallels between events. 

A strong relationship between a protagonist and an antagonist. By which I specifically mean a personal relationship. I want them tied together in some way beyond “we want different things”! I don’t care if that means they’re related, or exes, or old friends, or...whatever. But I’m always going to be more compelled by a story that has, as part of its central conflict, an interpersonal dynamic that has to do with the protagonist’s personal investment or emotional connection to their antagonist.

Too-clever-for-their-own-good protagonists. I love a good chessmaster or just very smart protagonist, and I especially love it when it gets them into trouble. People who think themselves into corners! Like, he’s not a protagonist at all but the iconic motivation that is Elan Morin Tedronai’s thinking himself into a nihilistic spiral leading to his becoming one of the Forsaken? *kisses fingers* perfect.

So actually really this is just “too-clever-for-their-own-good characters” because it’s also a thing I love in a good antagonist, where part of their problem is a tendency to overthink. 

I’m pretty sure it’s an anxiety thing. I like characters who vibe with me on an anxiety level and “overthinking yourself into knots” is a very Me thing.

Corruption/redemption arcs. Either direction! Even better is both directions. It’s just that...arc of change, and choice (I’ve talked before about how apeshit I go over themes around choice and agency, yeah? cause...yeah), and seeing how step-by-step someone can either collapse (see below) or rebuild. The redemption arc part of this is a very gut-level desire for me in a lot of ways, particularly in the hard work of it. But a corruption arc can also be...mmm. Tasty. Love to see, as sort of explored above, someone starting out with the best of intentions and sliding gradually, little by little, into something very different.

And if they come out of it afterwards? Also fantastic. *waves at book four Xie Lian*

A good downward spiral. I mean, this is kind of aligned with the “corruption arc” but it is also just about the tragedy of it. Watching the gradual collapse of a person or structure, how things gradually just...gather into an almost inevitable seeming crash even as you can see, meticulously, every step that led there. People trapped between bad and worse choices and not being able to find a good way out. I’m a sucker for a “this is terrible but it is very hard to see it going anywhere else, there were all these roads off but because of who everyone involved is, no one would’ve taken them” story. 

Tragedy! In the classical sense! Yes thanks. 

I mean, also love to see how people pull out of it after, but sometimes you also just fuckin’ love the trainwreck. Like...I will write 1 million Yi City fix its but what pulls me toward that arc in the first place is how miserably doomed the whole thing is.

Prideful and narratively doomed. This was originally something I think I used to refer to the Feanorians, but it really is just a thing generally. As much as I love the absolutely lethal combination of arrogance and basement level self-worth, I also love Lucifer-type figures - full of pride, and stuck in a narrative that’s going to punish them for it. Not because I want to see proud characters humbled, either - that’s not the button that’s getting pushed here. It’s a tragic catharsis/hubris thing. 

I don’t really know how to explain it, I just know that I like it and it’s also very frustrating to me.

Other thematic things...I gravitate toward, like, works about imperialism/colonialism but also more generally about power and power dynamics, choice/agency (like I said before), explorations of narrative and how the power of narrative drives people in various directions...that’s a few cursory thoughts, anyway. Engaging with questions of what makes a person good or bad, things about perception/reality...idk, a lot of this is sort of ‘I know it when I see it and lose my mind over it.’ Oh! Narratives of futility. I have a thing sometimes for narratives of loss and futility, particularly of the ‘but keep going anyway’ stripe. *waves at thesis about The Silmarillion*

Honestly, when it comes to like...plot, I tend to be pretty interested in a variety of plots, and tend to prefer when they feel at least somewhat unfamiliar. When I read fanfiction I will seek out story tropes over and over again, but I think I’m less inclined to do that in my other reading. I’m much more likely to seek out themes than I am to seek out plots.

Loosely speaking I think my hierarchy of how much I care about a thing tends to go more or less like:

Characters

Theme

Prose

Plot

With prose sometimes taking precedence if it is very good, or theme coming higher on the list if it’s a particularly compelling exploration.

Anyway this is a very long-winded way of saying that I don’t actually have a list of plot tropes I feel like I seek out, unless you count certain types of character arc in that category.

We best love: Fighting Mr.2nd episode 2 - analysis

I think we all agree that this episode was very intense and different from the rest. They both showed vulnerability, desperation and the pain of a deep heartbreak that let them both suffer for all these five years. Nothing in this episode was potrayed as something happy or positive. Every scene consisted of hidden pain and despair and these two emotions define the second season of We best love. It's not as lighthearted any more, rather about two people filled with loneliness and self-hatred. This turn of events makes it so special and unique because both Shu Yi and Shi De are at their lowest point and the worst versions of themselves.

Anyway, after the intro, the episode started right where the last one ended. The tension was rising until Shu Yi stormed out of the office and I have to say, I was a bit relieved they didn't have office sex because that would've been very out of character since they both protect what they love most and keep such intimacy private. Also, for them, I guess, sex is something they do out of love not hate, tension or for the sake of old times. Even though they didn't "do it", we see a lot of desperation on both sides. Shu Yi is desperate to know why Shi De ghosted him and suddenly seeks his attention again. He tests Shi De, wants to know if there's still some love left in him and himself. Shu Yi is not over Shi De and I guess what he felt there in the office frightens him and that's why he stormed out. Shi De is desperate to make Shu Yi forgive him and to let him know he still has the same feelings. For as Shi De knows he still loves Shu Yi but Shu Yi is not quite sure about his emotions or if Shi De is really honest and uses this confusion to back up his anger. This whole plan of betraying Shi De as coldly as Shi De betrayed him is clearly showing that Shu Yi is not okay, even though he said so last episode.

After this, we get a scene in a car when Zhe Yu warns Shu Yi. The main conflict of this season is brewing. Shu Yi will have to question if he just wants to get back at Shi De and is able to fully concentrate on this plan or if he develops feelings again but also if Shi De is trustworthy. It's again about the question if Shu Yi will fall for Shi De while Shi De is following him everywhere. As I mentioned last week, the plot of this season is basically the same but the setting and feelings are very different, so it doesn't feel like a story repeating itself.

What stroke my sight this episode because of the used filter is the color of their suits. Shi De is wearing something blue - just like in the first season - but now his clothes, and especially that suit, are in a deep blue that is not like the oceans. It is navy blue. I only know what the color blue in general means, I don't know if there's another meaning for navy blue but what I do know is that blue often represents distance and especially sadness. It can be used as a calming color, when used as light blue like Shi De wore in the first season, but now his character is just very devastated and he's not himself any more. He hasn't found his way back and is still regretting. The distance and the sadness, all expressed with the color of his suit. And Shu Yi is wearing black. Black symbolizes grief or the protection of one's emotions which is exactely what Shu Yi does. He's saying, he's over it but that's obviously not true and he's hiding his true feelings behind a mask even Bing Wei and Zhe Yu haven't fully lifted. He's hiding his true feelings behind hate and tells himself that revenge is his only motivation. In the first season, he also wore a lot of black clothes but they were mostly compined with blue or white, showing that he was slowly opening up to Shi De and now we're basically at the same spot as we were at the beginning of season one. Shu Yi is the only one who knows him and Shi De needs to find a way to make him open up again.

Moving on to the incredible cinematography this season and especially this episode. Zhe Yu and Shu Yi are talking outside on the roof and it's pretty clear that they will have a serious conversation when Zhe Yu tries to talk him out of acting like he's fine, like he and Shi De are on good terms. We know, these two will have a difficult talk, they even went outside for it. And this scene is very important because we start to understand how deep Shi De hurt Shu Yi and how much that heartbreak defines him. Shi De wasn't nice to Shu Yi because of his social status or his dad, he simply liked him for being Shu Yi (an allusion to the sentence "Because it's you"). There are three camera angles used before they start talking. First, the rooftop from far above, showing the whole scenery and the view which is mentioned by Shu Yi later. Second, Zhe Yu's face is shown and the camera blends over to Shu Yi's side profile, showing that Zhe Yu has something to say to him and that he doesn't understand Shu Yi (talking to his back). Third, a close-up of Shu Yi's face but he's still unreachable for Zhe Yu. As soon as Shu Yi turns around, he tells us his true feelings and intention and we understand much better why he's behaving like he does. The audience knows now and Zhe Yu too. Zhe Yu is basically used as a channel to the audience.

The following scene takes place in Shi De's office and again, three different camera angles are being used. This scene is very uncomfortable because Shi De - and the audience - knows now that Shu Yi only pretends and Shi De hates it when Shu Yi pretends (an allusion to the sentence "You don't have to act strong when you are sad"). It underlines once more that Shi De is the protagonist and that things are told from his perspective. Shu Yi doesn't seem to be as much in the wrong as he truly is (thinking that Shi De cheated) because Shi De only blames himself. But now Shu Yi plays a game and it's very clear that he only pretends to be cute when he walks in the office. There is a tension because they both are untrue and know it. First, they are both filmed from across the table and Shu Yi even from a position further away showing that Shi De is unable to catch a hold of him. Second, each of their faces are seen in a close-up and Shi De's typing fingers are in focus. The tension rises with Shu Yi eating and Shi De typing loudly and aggressively. Third, only their eyes are filmed and eyes are "the gate to the soul". Shi De tries to figure Shu Yi out, tries to find the truth but doesn't say anything or ask. This scene is all about the distance between them. Physically but also emotionally. They are both different people now and the aspect that they even do two different things that don't have any similarity (eating and typing), shows this distance. They are not doing things together any more. They are not a unity like they used to be.

And the sofa scene is just the outcome and explosion of all this pain. They both share the same pain even though Shu Yi would never admit that. It's filled with painful memories even though there are no flashbacks, the kisses still feel the same, the smell is the same and the touches are the same. It's the reminder of a bittersweet heartbreak and they both surrender. Shi De surrenders his pride and Shu Yi too because in this moment they are so vulnerable and feel like it could take away the pain, at least for a second. Of course, this scene is problematic and toxic. Because of all the negative emotions they both carried around for all these five years that are now bursting out of them.

Shi De has a total break-down and is at his lowest point. He is forcing Shu Yi physically, which he normally would never do. He is filled with self-hatred because he stayed back like he was told to and didn't fight for his love. He's ashamed of his behavior, now shown by him covering Shu Yi's mouth when he's asking what's going on. He's too drunk and too blinded in this moment and only wants to show his regret and frustration which leads Shu Yi to be very concerned. Shi De is so desperate that he even believes in the motto "the line between love and hate is very thin" and is too scared to just let it go. He didn't move on at all. He didn't let Shu Yi go because that would mean a loss of identity. Shu Yi is his world, he's his motivation and keeps him on track. Losing Shu Yi and letting go of him would turn him into someone he doesn't know but staying like this was also a loss of identity because this regretment made him lose his mind and hold on to something that doesn't belong to him anymore.

Shu Yi is full of hate and became an even more closeted person. The heartbreak was too much for him to deal with and he just told himself that he let go in order to feel better but as soon as he saw Shi De again, he felt that he didn't move on at all. After five years, the heartbreak cuts as deep as before. The wound is still open and even though he's surpressing it, he's just as desperate to go back to how things were as Shi De. The scene on the sofa reminds him of that. He fights it for some time but surrenders and stops thinking. Something clicked in him, made him act on his emotions. Because thinking would only make him even more confused about what he feels and surpressed for too long. For him, letting go of Shi De would also mean a loss of identity. Like Yu Xin said "he's always been there". Shi De was his motivation. Shi De saved him and was real with him. Shi De was the first one he trusted entirely and fell in love with.

They both define each other and it's hard to let go of something like that and still feel like you are yourself. What's different between them, is that Shu Yi doesn't feel as much self-hatred and is not ashamed of himself like Shi De. He just feels very lonely because there's nobody left that truly knows him.

What is interesting about their dynamic now is that the roles they play are turned around. Yet, Shi De is the one being straight foreward and Shu Yi is the one pulling back. They are both very different now but still the very same. Shu Yi still finds it hard to trust people and Shi De is still following him. On the sofa was as much vulnerability shown as on the bridge last season and if you compare those scenes you see that now Shu Yi is pulling away whilst Shi De is all out in the open. This change in character makes the hurt even more painful and the hearbreak even more real. But even though they act different now, they haven't changed a bit. All these turn of events and personal changes make sense for the characters and add even more layers to them. We best love always contained of complexe characters and the change of scenery and context adds more depth to them.

There are many parallels to the first season. The arc of the story will be, again, their love but with different context. On the way, no one is right or wrong. Shi De's behavior is the sofa scene is toxic but Shu Yi isn't in any way better. This becomes very clear when Shu Yi asks "Are you messing with me" and Shi De says "You are messing with me" which is a very obvious hint to the fact that they both lie and play a game. Shi De always played a game, leading Shu Yi to fall for him and Shu Yi was always playing a game to fight and hopefully win against Shi De. They are both too smart to not figure out what the other one is up to and they know each other too well to just keep being like this with all these unaddressed feelings.

I'm very excited for the next episode in a week. It seems like all the theories about Shu Yi's dad were true...

Building Character: Sorting Hat

So recently on my main channel, I started breaking down different kinds of people you’d find in the four houses of Hogwarts when it dawned on me that this could be a useful character building exercise. So, I’m going to lay out all 48 archetypes that I named and show how this can be used to outline a character.

The Sorting Process:

My method for sorting characters is to lay out all of the archetypes I’ve found in the Hogwarts Houses, and then compare to the traits of my characters and use a score sheet to determine the best sorting for a character. I’ve already made a score card here. Luckily, all four have been given the same number of archetypes, and now it’s time to meet the archetypes.

GRYFFINDOR

The Jock

Bold, confident, adventurous, and boasting a strong quidditch team, it’s no surprise that Gryffindor is viewed as the Jock clique of the four houses. The house values of determination and relentlessness makes for quality athletes. The stereotype of the brainless jock also persists, as Gryffindor is the house most likely to be considered less than impressive in the academic sphere. Jocks also tend to form close-knit bonds with others like them, just as lions move in prides, and Gryffindors tend to behave similarly, preferring to stick with large friend circles of their own kind. This archetype could just as easily be dubbed “The Frat Guy”, but Jock is more gender-inclusive.

The Brat

Time to rip the bandage off. Gryffindor is spoiled and pampered. Between the text itself and the author who wrote it, the general opinions of the fanbase, and the clear bias of the school staff, Gryffindor is painted as the best and favorite house. It hogs most of the spotlight, and there’s even a general consensus that the other houses are all inferior to golden favorite Gryffindor. This sense of self-importance, entitlement, and blatant unfair favoritism can give Gryffindors an unpleasant and arrogant ego. This can lead them to breaking rules, bullying, and belittling other houses due to this innate sense of superiority and impunity.

The Coward

Counter-intuitive as it might seem, cowards actually fit in nicely with Gryffindor. After all, bravery is not the absence of fear, but the willingness to rise above it. The story even frames this as the most noble kind of Gryffindor. Those who act in spite of their fears. Many of the major Gryffindor characters could easily have been in other houses, but instead chose to be brave.

The Champion

When Gryffindor is flavored with Hufflepuff, they can become a champion, someone who fights in the place of others. Someone who fights for those who cannot protect themselves. The Champion can also champion against something, such as fighting against inequality, tyranny, or corruption. They can even fight on their own behalf. This is simply an archetype not afraid to raise a fuss, call people out, and issue a challenge.

The Explorer

The Ravenclaw among Gryffindors, the Explorer is constantly seeking out new things. New places, new friends, new experiences. These are the Gryfindors who fear boredom or getting stale. Life is an adventure, and there’s no point living the same day twice. Even a bad experience is a chance to learn, grow, and explore something that they didn’t know before.

The Diva

The Slytherin variety, the Diva is proud, flamboyant, confident, and ostentatious. Whereas the Slytherin Star archetype chases fame because of ambitions, Divas have powerful personalities that command attention and recognition. Stars perform to rise to power and glory. Divas perform because it makes them happy to pursuit their passions. Even someone who doesn’t perform can still be a diva if they’re dramatic, over-react, and live for that tea. They can be temperamental, flighty, and a bit vain, but they’re made to entertain.

The Risk-Taker

Gryffindors aren’t known for planning head. They’re reckless, headstrong, and fly by the seat of their pants, and the Risk-Taker is no exception. They don’t let rules, traditions, or the risk of repercussions to stop them from doing what they want. They’ll take any dare, climb any mountain, and ignore any safety warning in the pursuit of thrills and adventure.

The Immature

Just as Ravenclaw’s wisdom can make it more mature and responsible, Gryffindor’s tendency to act without thinking about the consequences tends to cause Gryffindors to behave childishly, inappropriately, and stupidly. It’s no surprise that the house that loses points the most for breaking the rules, talking back to teachers, and childish pranks is the house whose values encourage irresponsible behavior.

The Genki

The Japanese subculture of Genki is characterized by an overzealous, energetic, and upbeat personality, one which is usually loud, outgoing, and talkative. They wear their hearts on their sleeve, and speak their mind openly. This zest of lively bubbliness is often viewed as charming and likable, which fits the image of the popular Gryffindor.

The Monarch

Gryffindors are often seen as the house of leaders and heroes. As the king the other houses follow and bow to. Leadership isn’t all just crowns and a fancy office. It involves making tough decisions and having the nerve to push yourself and others forward. The image of “The Good King” enforces the Gryffindor values of leading by example, and that just and moral leadership will produce a just and moral world.

The Popular

It’s no secret that Gryffindor is kind of the house of the Popular kids. Their friendly and social nature makes them people that others want to be around. While the Gryffindor ego can branch this archetype off into the Alpha Bitch and the Jerk Jock, the verdict still stands that the most popular people in Hogwarts are likely a part of this house. Even the house itself shares this popularity, as it is the most liked and often preferred of the four houses.

The Fool

The Prankster. The Class Clown. The Fool is someone who isn’t afraid to push the envelope to get a laugh. Gryffindors are unarguably the most social house, and that desire to impress and bond with others can compel them to stop at nothing to entertain themselves and others through their antics. However, they also tend to get in trouble for this behavior, and they have to be cautious: as sometimes the risk outweighs the humor, only making them a laughing stock, rather than a laugh riot.

HUFFLEPUFF

The Sidekick

Much as it stings, this House is a mass production house for sidekicks and comic relief characters to balance with the typically Gryffindor protagonist. Hufflepuff’s values of loyalty, friendship, and integrity make for very good friend characters. Hufflepuffs as the main character are pretty uncommon, mostly popping up as the support of the team. The healer, the defender, the plucky bard with an inspirational speech. But that loyalty and integrity is truly commendable, as they are some of the most dependable and trustworthy figures.

The Paragon

When “Too Good for This Sinful World” is taken literally, these characters have moral fibers so squeaky clean that they legally cannot say “fuck”. This archetype is the living embodiment of Lawful Good. These are the characters who play by the rules always. Who decry any action that means taking the low road. The Paragon comes in two different flavors depending on the tone. They’re either the one good person who win because they played fair and who people should strive to be like, or they’re the noble idiot walking right into a trap because they’re too naive to realize that they’re the only person playing by the rules.

The Heart

Some people can lie, cheat, and steal. Some are good at pretending they’re a different sort of person. But, not this Hufflepuff Archetype. They feel too often, too strongly, and too genuinely to pull off hiding how they feel. This archetype is a bit of an open book. What you see is what you get. That’s not to say that they never tell a lie, but they’re also more likely to come clean about it sooner or later just to get it off their chest.

The Hero

Although Hufflepuff is mostly a support house, occasionally, they get to play the lead. Most common in Shonen Anime, this Gryffindor/Hufflepuff hybrid archetype fights for what’s right because it’s the right thing to do. Think of this archetype as the White Knight. A crusader against injustice who fights with integrity and does so for the good of the people. They fight because somebody has to. Because they don’t want people to be afraid, alone, or injured. They strive to be a beacon that lights the way in dark times, and gives people something to hope for.

The Councilor

The Ravenclaw hybrid of Hufflepuff house, the Councilor is someone who helps others by listening to their problems and offering advice, guidance, or support in whatever capacity they can. They care about the well-being of others and offer themselves as a trusting confidante. They are gentle and reassuring, having the patience and open-mindedness to help others deal with their issues in a positive and healthy way.

The Entrepreneur

The Slytherin among Hufflepuffs, the Entrepreneur is someone who combines the hard-working work ethic of Hufflepuff with the ambition of Slytherin to be humble business owners. Their distinction from the Slytherin Workaholic is that Slytherins work to climb the corporate ladder. Hufflepuffs work because they love what they do and enjoy doing it. A less leader based sub-archetype is the worker bee, a hard worker who takes pride in doing a good job.

The Knight

The Knight is someone who is devoutly loyal to a cause or person. Their word is binding, and if they say they’re with you, they are with you, for better or worse. This also makes the Knight very easy to turn to the side of evil, as all it takes is swearing their loyalty to an evil person or cause for them to become a crusader for injustice and cruelty.

The Self-Righteous

Another Hufflepuff that can stray into villainy, a Hufflepuff can be a total villain if they mask their villainy behind a facade of being morally virtous.  The Self-Righteous is the embodiment of the religious extremist. Those who commit atrocities in the name of God, King, and Country, even if their God, King, or Country distinctly condemns such behavior. However, because they assume they are fulfilling the desires of something which is intrinsically righteous, that must make them automatically righteous as well.

The Puppy

The cinnamon roll. Sunshine personified. The Puppy is an upbeat optimist that generally sees the good in others. Like a newborn puppy they are excitable, friendly, eager to please, loyal, sweet, and happy. Some might say that they’re too optimistic, crossing the line into naive, gullible, or foolish. But the puppy’s optimism is often backed by a strong conviction and a desire to help that makes them much more resilient and strong-willed than people might assume. They make great friends as they’re always eager to help others in any way that they can, and even when upset with a person will usually look for a nicer way of airing their grievances with people.

The Peacekeeper

The Peacekeeper is someone who strives to help others live harmoniously. They break up fights, help people settle their arguments, and only fights to maintain peace. They are sensitive souls that can’t stand fighting, hostility, or bullying. They just want people to get along, and they’re willing to do what they can to make that happen.

The Caretaker

Hufflepuffs are very aware of other people. They’re the most socially intelligent house. This archetype is composed of those who take care of those around them. They’re the friends who remind others to take their medication, to ask them if they remembered to do their homework, or to make sure they’ve had something to eat. They care about the well-being of others, and will gently nurse, encourage, and support the people that matter to them. However, this archetype can also go so far that it needs itself, putting so much of their attention and time on taking care of others that they need someone to remind them that self-care is also important.

The Mundane

So many people focus on the fact that Hufflepuff is the house of modesty and loyalty that they tend to overlook that the house is also the catch-all house of students who don’t fit into the other three houses. So, this Archetype is for people who aren’t really exceptional in anything. They aren’t brave like Gryffindor, Wise like Ravenclaw, or Cunning like Slytherin. They’re the “normal” or “average” person. Someone who doesn’t come across as being important or impressive. But Helga Hufflepuff saw the value in accepting anyone as long as she had room at her table.

RAVENCLAW

The Nerd

The first thing we think of when we hear Ravenclaw, Nerds are walking encyclopedias with a treasure trove of facts and information. They tend to study because they enjoy learning. For them, school was fun, and the library is an important place. If the burning of the Library of Alexandria angers you, welcome home ya nerd.

The Geek

Nerds know facts, Geeks know pop culture. If you know what year the first issue of Superman comics was written, you’ve found your label. A geek lives for cosplay, fandom, conventions, shipping, fanfiction, and memorabilia. And they are not Nerds. Nerds and Geeks are different, but can overlap. However, you don’t have to know book smarts to be a Geek.

The Bookworm

Not all Ravenclaws are brainiacs. The Bookworm has a love for reading that is not directly tethered to book smarts. For this archetype, reading is a relaxing hobby.  It is often a trait among introverts, especially as a way to decompress, and they also tend be loners who prefer their quiet alone time.

The Valedictorian

Expect this archetype to have the highest grades, to be part of every club or organization, and has probably run for class president. A Ravenclaw with an undercurrent of Slytherin, they are ambitious in their intellectual pursuits. The main thing keeping them out of Slytherin house is their love of learning and knowledge which overshadows their ambition to achieve.

The Advocate

Just as the Valedictorian has elements of Slytherin, the Advocate has elements of Gryffindor. The advocate champions the rights of the underdog, stands up to hypocrisy, and points out logical fallacies in any argument. They hold up the light of truth and knowledge to combat ignorance and prejudice through their insight and knowledge.

The Dreamer

The Hufflepuff among Ravenclaws, The Dreamer is a Ravenclaw who believes in the inherit goodness of the world. These Ravenclaws may be seen as overly optimistic and naive, but this just speaks to Ravenclaw House’s knack for marching to its own beat, and standing out in a way that shows the house’s unique and open-minded world view.

The Scientist

Typically the standard “brain” of a team in fiction, most team brains tend to be nerdy in math and/or science, such as Pidge, Edd, and Entrapta. The Scientist is invested in scientific endeavors. They seek knowledge, but can easily be warped into the Mad Scientist, as characters like Lord Orochimaru, Rick Sanchez, and Shou Tucker cross the moral line as they perform inhuman experiments in pursuit of knowledge. They tend to value logic and the scientific approach, and will seek out evidence and statistics to reach a conclusion.

The Investigator:

Those who thirst for answers, The Investigator’s interest in knowledge is directly impacted by a desire to know and understand more. However, unlike the Scientist that may use this knowledge for personal gain, The Investigator prefers exposing the truth and uncovering the facts. They love cracking codes, solving riddles, unearthing secrets, and exposing the truth.

The Adult:

Ravenclaw is a house associated with wisdom, and with wisdom comes maturity, responsibility, and leadership. Expect these people to be mom friends and dad friends, offering advice, taking care of others, and typically being mature for their age, and wise beyond their years. They behave like an adult, even from an early age. They may get a bad wrap for being boring instead of young and reckless, but they are also sensitive, stable, and trustworthy.

The Creative:

Ravenclaws tend to think outside the box, and that wild imagination and intelligence tends to leak out as writing, painting, dancing, acting, and any other creative endeavor. Even those who lack the talent to be an artist themselves can still fall under this archetype if they appreciate and value the arts and creative acts.

The Unconventional:

Ravenclaw is known for being a little odd. Ravenclaws revel in their unusual eccentricities. They’re fine marching to the beat of their own drum. A bit of a nutty genius, artists like Salvadore Dali, David Bowie, and Mozart are known for being unusual. Entire artistic movements like cubism, avaunt guard, and club kid fashion follow this zany mindset.

The Cloudcuckoolander:

Separate from the Unconventional, the Cloudcuckoolander is someone whose mind is a strange and unusual thing to outsiders. They come off as almost being detached from reality, their head in the clouds, and seeming odd in their mannerisms. People tend to treat them as delusional or crazy, but they show themselves to be strangely insightful into others.

SLYTHERIN

The Mastermind:

Exemplified by a ruthless pursuit of power, the Mastermind treats situations like a game of chess, always plotting to give themselves the upper hand. They are cunning, ruthless, and goal-oriented, usually with an emphasis on control, dominance, and authority. They usually gravitate toward leadership positions and can be very skilled at getting others to comply with their wishes. This archetype is usually seen in villains like Regina Mills, Princess Azula, and Cersei Lannister. However, occasionally, this archetype gets to be seen in a better light with characters such as Daenerys Targaryen. And sometimes it’s played for laughs, such as with Brain and Plankton’s plans for world domination.

The Perfectionist:

This ambitious go-getter is characterized by a strong drive to be exceptional in everything they do. These are the characters who strive for the highest accolades, the top marks, and mastering anything they put their mind to. Often either a cry for validation or as a means to pursue their ambitions, this type of Slytherin is all about standing out by rising above the rest. They are driven by a desire to be their best self, and they’ll work themselves ragged to hold themselves to that high standard.

The Workaholic:

Tangentially related but distinct from the last archetype, the Workaholic is someone who basically treats their entire life like a business or a job. They have a planner loaded to the brim with a schedule that always keeps them moving, and leaves very little time for other things and people unless they can manage to pencil them in somewhere. These ambitious folks are very likely to succeed in life, but their social lives tend to suffer as a result.

The Detective:

Often mistaken for Ravenclaws, or straddling the line as Slytherclaws, The Detective archetype of Slytherin is someone who studies and learns things not for the simple joy of learning as true Ravenclaws do, but more often for the challenge, thrill, or to get what they’re after. This archetype views knowledge as a vital tool and weapon in their endeavors. Even if they enjoy learning, the knowledge they seek out is specifically related to what they are trying to accomplish.

The Tactician:

Like the Detective that teeters on the Ravenclaw line, the Tactician tends to straddle the line with Gryffindor. They can be brave, heroic, and reckless, but this archetype’s main distinction from a Gryffindor is their Slytherin tendencies. Whether they’re ambitious, clever, or strategic, they lack the brute force simplicity of a Gryffindor. A Gryffindor will rush in guns blazing, while a Slytherin knows the value of a sneak attack. Heroes like Percy Jackson, Link, and Katsuki Bakugou make full use of their cunning in the heat of a battle, looking for weakspots, analyzing the battlefield, and always willing to find a pragmatic solution to whatever they come across.

The Sincere:

The archetype to bleed over into Hufflepuff, this archetype is blunt, direct, and doesn’t sugar coat things. They are brutally honest. This can come across as mean and unsympathetic. But, even if it seems like they’re just dumping salt in the wound, it just means that they don’t pretend. They can be depended on to give the whole truth no matter how much it might sting. They might openly mock their friends, but when someone needs them, they can be depended on to give the most genuine feedback. And when things look bleak, this is a friend that can usually be relied on to offer their support. And if someone is too weak or scared to fight for themselves, The Sincere is the kind of friend who’s not afraid to get their hands dirty on someone else’s behalf.

The Charmer:

Ever aware of their public image, the Charmer is a Slytherin whose ambitions are met not through power, but through playing the social game. Experts at winning people over, these Slytherins can be just as ambitious and clever as any other. However, they choose instead to recruit and convince people to follow them and do their bidding with their charms and communication skills. They’re good at arguing their case, and speaking in such a way that people feel compelled to help them. This archetype often masquerades like they’re one of the other houses, especially Hufflepuff. But don’t let their charms fool you. They’re as Slytherin as they come.

The Rebel:

The Rebel is a Slytherin who much like Gryffindors view rules as more of a suggestion than anything else. They’re just trying to have fun and enjoy life, and rules tend to get in the way of that. Often pranksters, couch potatoes, or troublemakers, The Rebel tends to balance between being misunderstood and actual delinquency. However, their rebellious nature can drive them to question old norms and traditions and try to view the world in a new way. Their refusal to bow to old paradigms can mean that Rebel archetypes are champions for change and growth, for better or worse.

The Star:

A primadonna through and through, The Star archetype is one whose ambitions are focused directly on fame. All of their ambition and hard work is all in pursuit of that loftiest goal: the fleeting spotlight of celebrity. Whether they want to take Hollywood by storm, receive a standing ovation at center stage, or go viral on the internet, this archetype is determined to be in the spotlight and make a name for themselves. They can be divas, and may even be competitive with other performers, but it’ll all be worth it when they receive accolades for all of their talent and accomplishments.

The Rogue:

The Black Sheep. The dark knight. The Rogue is the typical anti-hero. Skirting the line between hero and villain, the Rogue is a pragmatist, able and willing to do what needs to be done without letting morality or personal feelings get in the way. Cynical, snarky, mean-spirited, and roguishly charming, the Rogue isn’t quite a bad guy, but being good does not mean being nice. Like The Sincere, The Rogue is unabashedly themselves, and lives earnestly.

The Survivalist:

The Slytherin mindset is one known for being pragmatic. A Slytherin will do what they must to get ahead. The Survivalist embodies this practical approach to problems, being flexible and adapting to situations in order to gain the upper hand. The Survivalist can be someone who survives in the wild, but it can also be someone whose loyalty, opinions, strategy and behaviors can easily change and adapt to new situations in order to thrive. They can thrive in a fast-paced high-stakes situation, and can usually improvise very well should their plans suddenly change. This ability to quickly adapt to circumstances makes this one type of Slytherin that’s hard to knock down.

The Competitor:

Fans of reality shows know that some of the greatest players are also some of the most diabolical and cut-throat. Evel Dick and Danielle were a wicked power duo in Big Brother 8, and Dan got 1st and 2nd in Big Brother 10 and 14 respectively. Slytherin and Gryffindor can both get competitive, but they play in different ways. Slytehrins are far more pragmatic, and have less of a problem lying to someone’s face to get ahead. These tactics, while underhanded, are great game moves. Dan hosting his own funeral in season 14 is still regarded as one of the most brilliant plays in Big Brother history because of how completely he flipped the power in the house. The Competitor can be a total monster, but they also tend to be monstrously entertaining.

Now that I’ve laid out the archetypes, I can start evaluating my characters. Looking over my protagonist, I’m pretty sure he’s a Ravenclaw, but let’s put the character to the sorting hat’s test. My character would fit into: [Gryffindor] -The Monarch [Hufflepuff] - the Heart - the Councilor - the Peacekeeper - the Mundane [Ravenclaw] - the Nerd - the Geek - the Bookworm - the Advocate - the Dreamer - the Adult - the Creative - the Unconventional [Slytherin] - the Perfectionist - the Charmer So this matches what I assumed, that he was a Ravenclaw main, and a Hufflepuff secondary, but I didn’t realize how far he was from being a Gryffindor or Slytherin. So his ratio chart would look like this:

While it’s not hard to sort characters, some aren’t always as clear-cut and I hope this writer’s aid helped you better define your character’s traits.

Thoughts on the 8th ep of Hypmic Rhyme Anima. Spoilers beware

Ep.1 | Ep.2 | Ep.3 | Ep.4 & 5 | Ep. 6 | Ep. 7

Love that every time its a MTC centric episode im so busy that i can’t watch it the day it airs

I like how the beginning of the episode kinda mirrors the events in MTC’s story in ARB

hey hypmic you wanna try making it Less obvious who the culprit is? like damn you’re just giving away secrets like its candy. First Ramuda, the Ruikawa and now these two assholes. Might wanna keep your cards close before you spoil the ending of the anime oh wait they already did that nvm :p

Samatoki please have some sense of self preservation and ask what its about before accepting something. but I guess it also speaks to how trusting he is of those he lets close to him which also explains a bit more as to why he hates Ichirou’s guts

Love that Jyuto is actually choking the information out of someone and Samatoki is actually gathering intelligence and creating boards out of it. Most people expect the opposite from their characters and it such a great dynamic

I find it hilarious that Rio uses older computers but that brings up the question of “How far into the future really is hypmic?” bc those computers look to be from early 2000′s which would be A N C I E N T and completely unusable for hacking come a time when WWIII happens

Iris on a bike has no rights looking as hot as she does. The vehicle CGI is really nice too and so is her character model on top of the bike. Loving how Iris completely owns the two cops

The MTC love here is jsut. through the roof i can die happy now that i’ve seen Samatoki aggressively caring for his teammates animated and voiced. like, please. just. help. I can.t/ MTC care so much for each other I would hug them all and tell them good work, you can finally go rest now uughghghgh MTC guys. MTC

But mannn Iris is so cool, approaching MTC without any fear

I find it hilarious that Saburo would pose as a game dev from dubai which yknow doesn’t make any sense if you think about it. but whatever it just makes me laugh at how easy it is to fake a lot about yourself because yeah! it is easy! 

The whole conversation about cops and good cops seems a bit off considering ACAB but considering Japan who has largely swept both BLM and ACAB under the rug it isn’t surprising. That isn’t to say that Japan doesn’t care, its just that these movements aren’t on the spotlight so topics like these don’t carry as much weight

lol yeah he should have expected to be stabbed from the front lol

SRKHFSKJD Rio please stop living in the water, i can’t believe he did that lol

Love the SamaJyuto subtext in the translation lol

Jyuto’s sequence is kinda cute in a way ahaha

The kurosawa-esque b&w screens are a nice touch to the song as well as the MC Name drops and hypnosis speaker drops. Idk about Rio’s 2DIE4 reference though since it doesn’t really rhyme nor does it add much to the rap itself

The song itself is pretty nice but it isn’t a bop like Fallin’ was. It has a different more gritty feel to it that i don’t hate but isn’t my style

Of course Iruma pulls this situation into his favor, its so typical of him.

Rio didn’t speak much here and took a general backseat to everything. I wonder if it was because during the time of recording this episode, Rio’s VA, Kamio Shinichiro, went down with The Virus (you know the one) so he couldn’t record much. Who knows but best boy. just let me hear best boy’s voice please

Ramuda’s phone vibrate actively annoys me oh my god it makes my skin crawl

If Ramuda’s sleeping on the couch then that really does confirm that Ramuda lives in his studio. Not surprising considering everything we know about Ramuda but at the same time, please get like a futon or smth sleeping on a couch will only hurt your back

Ramuda just busting in is fun

but im not sure how to feel about two divisions shoved into one. like this is basically telling us who is the important divisions, Ikebukuro and Shinjuku. Obviously BB are the protagonists of the series what with the staff coming out to even say that Ichirou is the hero, and if you know what happens then you know why Shinjuku is also highlighted which. also gives away the ending of the anime. again. I’m just glad that the team decided to stick with the irl results bc if they didn’t, they’d have a lot of angry fans

Back to my main point tho, this just. pisses me off. I love FP and MTC and to see them sidelined like this doesn’t feel fair. they deserve full eps to themselves bc if I’m being honest, these two teams have some of the best inter team dynamics out of the current cast. I understand that budget issues and episode constraints exist but this is just kinda frustrating that my main division has been tossed aside and the team that gets the most overall development gets thrown away too

Im not surprised that they cheated because gambling anime is about who can outcheat the other and the mind games played. thats the thrill of gambling series is the psychological factors in it

Ramuda emulating Gentaro’s speech is cute

The mindgames are not present at all and I expected that lol

thats.... midly gay gentaro lol do you always go around pressing shit into people’s mouths while leaning in close? thats pretty gay lol i love the homoerotic subtext present in this episode. First SamaJyuto and now GenDice

no speaker summon sequence? thats slightly disappointing but whatever. the anime is really doing FP dirty by cutting a lot of corners with their episodes

I never noticed that Ramuda and Gentaro hold their mics in their left hand while Dice holds it with his right. neat detail

I love how even in a battle FP still keeps their preppy attitude

Gentaro looks so awkward to the little sway and kick thing in the song lolol

This is probably one of the songs that I like the least. Jackpost is a very Dice song and not really fitting for either Ramuda and Genaro. I think i’d like it more if it was a dice solo or dice centric but the emphasis was pretty cleanly spread so that makes it pretty hard to enjoy

Oh hell yeah FP meshing as a team is just, so cute. Though that foreshadowing with Ramuda and his candy is just. wow

Yup they kept the og brackets so I think the anime’s going to stick with the IRL results. Which means that any tension they try and build won’t work for ppl who are already familiar with the series but I hope they don’t take that fact as an excuse to slack off

Ben Solo/Kylo Ren: a character analysis

OK, first things first: THIS ISN’T A STAN OR ANTI POST. This is a character study, and if you can’t handle this character getting impartial concrit, just don’t read. If, however, you don’t agree with some of the points I’m going to make and want to have a healthy discussion about it, then I’m all ears. I don’t think my opinion is the only valid one, so feel free to try and change my mind.

And second things second: I tried so hard to love the sequel trilogy, but when it became clear after TROS that the studio had no plan other than making money, it became very difficult. I’m aware that the main problem for all the characters is the lack of general planing in this whole mess of trilogy, so keep this always in mind while reading this post: the first problem of this character was that the studio didn’t even know what to do with him.

1. Does Ben Solo becoming Kylo Ren make sense?

I checked the comics to get his background better. He had a happy childhood traveling a lot with Han and Leia, but when she discovered about the First Order, she sent him to train with Luke while Han and Chewie ran undercover missions for her. This is important: up to this point, he had a good relationship with his family, even if he was already being pulled by the dark side of the Force. It was during his adolescence that he started to be really seduced by Snoke, hearing the voice he thought belonged to Darth Vader. After the Luke incident, he did explode the cabin and thought he had killed his uncle, but he was not the one who killed all the other students and destroyed the temple: that was Snoke’s thing. He did kill some of his fellow Jedi apprentices later on, though. So, his turning points were Luke’s treason and Snoke’s coordinated abduction. And I would like to point out: the Sith training involves torture and brainwashing, so the first wrong impression I would like to correct about this character is that he was not simply a dick and revolted teen who ran away to join a cult.

BUT, there are some huge problems here. The first one is that when you watch the movies, you don’t learn anything about that aside from Luke’s part. In the way he’s presented in TFA, he’s Leia and Han’s son who betrayed his family, destroyed his uncles’ dream and joined the dark side for no reason. OF COURSE half of the audience wouldn’t like him. That wouldn’t be a problem if they just wanted him to be a villain like Darth Vader was, but it’s very clear that there was a plan (at least for one director) to make him a supposedly redeemable character. And how can we sympathize with his character like that? Even after we get to know what Luke almost did, the next question is simple: ok, so why he didn’t go back to Han and Leia?

And here is the second huge problem: we learned that after Ben leaves Yavin IV, Luke vanished, and Han and Leia broke up and went back to smuggling/leading a rebellion. And I can’t stress this enough, this doesn’t make any sense. The sequel trilogy killed Luke, Han, and Leia’s characters. These three characters that we have known for years would never, ever, had abandoned Ben Solo. Leia F*cking Organa and Han shot-first Solo would have brought their son back or die trying. Luke Skywalker is not a coward, he wouldn’t go into hiding and abandoned his only sister to clean up his mess during another war, let alone close himself to the Force, knowing full well he wouldn’t be able to feel if she was in danger. Just remember Han risking his life to save Luke in Hoth; or Leia leaving the rebellion to rescue Han from Jabba; or Luke straight-up disobeying ghost Obi-Wan and ghost Yoda to save Han and Leia, even if that costed the war. They were older and different, for sure, but we are talking about the quintessential things, the things that make these beloved characters themselves.  

(THIS ^^. This right here is the spirit of Star Wars)

So no, in the way it was done in the movies, Ben Solo becoming Kylo Ren doesn’t make sense to the audience, and that’s a huge problem. A friend of mine suggested once that instead of being a rip-off of ANH, TFA should have been a movie about the beginning of the First Order (because after we defeat the Empire on episode VI, episode VII starting with ANOTHER all-powerful evil government already dominating the galaxy and exploding planets just throws away all the previous movies’ efforts) and about how Ben Solo becomes Kylo Ren. Just imagine if Rey, Finn and Poe had interacted with Ben Solo before he becomes evil: the stakes would have been so much higher, and it could have been well done. It would have made this character more human and likable.

2. Kylo Ren’s motivations: what does he want?

If the OT was about hope, I think we can agree that the ST’s themes are legacy and belonging. Having their protagonists, Rey and Ben/Kylo representing two apposite sides of those things was one of the best ideas for the new saga.  Rey looks for belonging in the past she doesn’t know, while Kylo wants to abandon Ben Solo’s past and find his place in his future as Kylo Ren.

In that sense, his character arc was somehow solid. In TFA, it’s clear he’s still struggling with the dark side and feels the temptation of the light: he loses control easily, and he’s not doing anything unless Snoke orders him to. Ok, but why? Why is he clinging to Darth Vader’s ideals and staying in the sith path? Basically because he thinks it’s too late, and he has no other options. Which brings us back to the problem with Han and Leia: his parents didn’t go after him, they chose to go back to their old lives – of course he would think there’s no going back for him now. “But he is an adult man and could make his own decisions.” It’s a fair point, but again: sith training corrupts you and even if he had escaped, the only thing that would happen would be Snoke finding him again. It’s kinda like leaving an addiction: you supposedly can do it by yourself, but it is so much easier if you have help. Not a simple promise or offer, but actual, constant, and present help. I can not stress this enough, but I insist that one of the main problems with the sequel trilogy was not explaining in a satisfactory way HOW and WHY he turned to the dark side and stayed there.

3. Han Solo

Okay, I will admit: maybe my opinion on this specific topic is biased, because Han Solo is my favorite SW character. You may call me out as a fangirl if you don’t agree, but my point is: making Kylo Ren kill Han Solo was a bad idea. They basically killed the character for half of the audience, with zero chance of redemption.

It’s because it’s fratricide. Unless your father is Satan, the Emperor, or someone as equally villainous, fratricide is just that bad. It’s not easy to redeem a character who commits murder, but one that kills his own father? Who happens to be one of the good guys? And one of the most iconic and beloved characters in the franchise? There were other options to give Kylo Ren a tipping point, a conflicted moment that didn’t involve killing Han Solo. But they did, and he killed him. And now he’s no longer a villain we can sympathize with: now we think he’s a monster.

4. His interactions with Rey in TLJ

(I’m not wearing shipper goggles for this. I don’t even own shipper goggles when we are talking about Star Wars.)

Kylo Ren is conflicted after killing Han Solo, (and I will make a small pause here to reinforce how good Adam Driver’s acting was. He’s the only responsible for all the likable parts of Kylo Ren, especially in this movie). Kylo is once again unstable and Snoke is displeased with him, and for a moment we think he finally turned completely to the dark side, until he pauses before shooting Leia’s ship.

The force bond was the most interesting part of the movie. I don’t agree that he used it to manipulate Rey: if anything, he was completely harsh and blunt and kind of a dick to her, but he didn’t lie. He told her things how he saw it, with so much conviction that she started to see his side of the story. And since she was probably the first person in years that actually listened to him, his decision of murdering Snoke and inviting her to join the dark side makes very much sense.

We are talking about motivations and his are simple: let the past die, forge a new path. When he kills Snoke and no longer has a master, he only has one option: to become the master. That’s why he takes over the FO, and wants Rey to be his apprentice. Does the character suffer from sith-tunnel-vision? Definitely. But it makes sense. His decision-making is not overly complicated: he feels alone, and he wants a purpose: he decides that the solution for both is Rey joining him in the dark side. When she refuses, he still has one purpose: the FO.

This is, however, the point where he turns his back to the light completely: on Crait, he orders the FO to explode the Rebel Base and kill everyone, knowing full well his mother was in there. He orders them to exploded the Falcon out of the sky, once again knowing that Chewie and Rey are on board. When facing Luke, he repeats that he will kill Rey and the rebels. His transition from conflicted sith apprentice to the new villain of the franchise was actually well done.

And exactly because of that, the next topic pisses me off so much.

5. The continuity problem between episodes VIII and IX

Introducing Palpatine here was bad for so many reasons: backtracking Rey’s arc, making us think about Palps’ sex life, insisting on beating a literal dead horse when there were new things to explore, etc etc. And it was also bad for Kylo Ren’ arc. As I said before, the way they finished episode VIII, everything pointed to Kylo becoming the final evil Rey would have to face, and that would have been awesome. We didn’t need Palps, or ANOTHER all-powerful evil army ready to conquer the galaxy with exploding-planets-tech (seriously, is Alderaan a joke to you, Disn*y?).

  But, in the third movie, they went back and decided they didn’t want Kylo Ren to be the ultimate villain anymore. They wanted him to be redeemed. And that’s not bad per se, but an actual redemption arc needs to be planned, and I think we can all agree, there was no planning in the sequels. And again, FRATRICIDE. So they introduced an old, more powerful evil to make Kylo Ren less evil and less of a threat in comparison. And evil so definitive, and with such a bullshit connection to Rey, that it makes Kylo reconsider his previous promises of killing the last jedi and going back to the plan of making her turn.

And so, his character spends the movie going after Rey, to tell her the bullshit truth about her parents, to convince her to join him. At least his arc is still somehow solid, because once he’s decided on his path, he doesn’t lose control like in the previous movies, and his body language is more firm and lethal. Which, honestly, thanks Adam Driver, he knew the character way better than the director at this point.

He finally comes back to the light when Leia dies. Although it was rushed, I agree that, at that point, it was literally the only thing that could have made him turn. Rey reminding him that he wouldn’t be alone if he hadn’t chosen the dark side helped, too. It was clear that the moment with Han Solo was supposed to be with Leia, but I’m really glad Harrison Ford agreed to come back to fill in the role for his old friend.

6. Ben Solo

Okay, there’s so much to unpack here. When Ben Solo finally comes out to play, it’s very good. We can finally see some things that explain Kylo Ren better – it’s so obvious how awkward he was in his own body trying to be an evil sith lord when he is clearly a natural disaster. He still suffers from tunnel vision, but at least now it’s Skywalker-do-or-die tunnel vision. It’s like a weight was lifted from his shoulders, and the way his actions scream Han Solo makes me, once again, wish the first movie had been about him, and not the whole “find a map/ Star Killer base was ANOTHER ridiculous idea / I know R2’s alignment is chaotic bastard but COME ON”.

Star Wars has a notorious story with pulling Force powers out of nowhere, and I’m not going to pretend to be an expert in SW lore, so I won’t complain about the dyad thing (and the weird stuff with the light sabers). I honestly liked the concept. There’s a lot I have to say about the final battle against Palpatine, but I think it would fit better in a future character study about Rey (God, that’s going to be another long ass post). I just want to add that after Luke insisted on her taking both light sabers to Exegol, and after all the crazy stuff Ben did to get to her, they should have, you know, actually fought side by side against 85% dead Palpatine? Aren’t these two idiots supposed to be stronger than that?? I’m not complaining about Rey bringing him down “alone” since she is the protagonist yada yada, I just wished that Ben had done something, instead of being thrown into a hole.

(Palps did that out of spite because of his grandfather? I bet he did.)

I won’t say I didn’t cry hearing the voices of the past jedi talking to Rey, because I definitely did. If anything, it was great to see so many beloved actors getting a chance to honor such iconic characters. But are you freaking shitting on us? Where were ANY of those assholes when Luke, Leia and Ben needed them, like, ten years ago?? “Well, force ghosts should not be used as ex machinas, and they don’t see the future” Tell that to episodes IV, V and VI. Anakin, Obi Wan and Yoda can show up for Vader weird funeral/party with ewoks but they can’t send a jedi signal for the Skywalkers to warn them about Sith bullshit about to happen? “They were probably ahead in the world the comes next and they didn’t have a way to come back, they just talked to Rey because Exegol is a Force nexus and-” And so is Ach-To. And so is Yavin IV. And so is Dagoba (Yes, Snoke sent Ben there for training). Look, I have no problems with Force Ghosts, I love them bastards. I’m just so freaking mad with the lack of coherence in this trilogy. If they did not talk to the Skywalkers – and I’m sure at least Luke and Ben asked Obi Wan/Anakin to show themselves A LOT – they should not have talked to Rey. It was a crowd please moment, for sure, but it was another gigantic middle finger to Ben Solo (before he becomes Kylo Ren).

And then Rey died, and Ben brings her back. I know how many funny jokes are going around in the fandom about how resurrecting Qui-Gon or Padme would have saved the galaxy so much trouble, but again, I’m okay with that. It was previously established that since they were a dyad, they had this living Force between them (although it was rushed in the final like everything else). And it does make sense Ben doing that: he had just come back to the light, and his parents were both dead. Han and Leia were gone because of him, the last time he saw Chewie was as his captor, and before that, he got shot by him, etc, you get the idea. He had nothing else, only this: the chance to make it right by a person that genuinely cared for him. Exchanging his life for Rey’s was nothing: he knew that his family would be waiting for him in the world that comes after.

So, did I like the Bendemption? It. Was. Not. A. Redemption. It was the right choice, and it made things right between him and Rey, because she forgave him for everything. But that’s it. He did not face the consequence of any of his previous actions. “But he died for her!” And we just established that it was not a difficult choice, considering that he had literally no reasons to stay alive if Rey was dead. If you want to see an actual redemption arc, go watch Avatar the Legend of Aang.

And finally, the kiss and the death. Okay, I know I’m digging my own grave by addressing that, but my mama raised no coward. Here it goes: it was fan service, pure and simple. It’s there to make part of the fanbase happy. Good for you, reylos, but to us, not shippers, it came out of nowhere. And I’m not questioning if they had feelings for each other or not: I’m talking about pacing and characterization. I’m not 100% convinced that Rey, as a character, as she was presented to us so far, would have done that. It felt out of place, and it broke the immersion of the scene. I was emotionally invested on what was going on, I was happy to see Ben smiling at her and everything, but then suddenly they were sucking faces and the “FAN SERVICE” alarm was so loud in my mind that I immediately lost interest. If they wanted that in the movie so much, there was probably a better way to do that.

It makes sense that Ben had to die to bring Rey back: one life for another and everything. I still think that, story-wise, it would have been better if none of them had died a ridiculous death, and Ben had faced the consequences of his actions as Kylo Ren, but okay, moving on.  The main problem here is what happens after he dies: nothing. Absolute-effing-nothing. He dies, he disappears – which, again, I won’t question because Leia was involved and Skywalkers do whatever they want with the Force and I’m no expert – but that’s it. Rey, the same Rey that had just jumped his bones fifteen seconds earlier, doesn’t even mourn him. She doesn’t cry, she doesn’t do anything for him in the end, she just goes to Tattooine because it makes sense to the Skywalker saga to end where it started. She sees more of those Force Ghosts who never appear when they freaking should and that’s it.

Why is it bad? Well, first, like it or not, Ben Solo/Kylo Ren was one of the main characters and he deserved an actual final. Finn and Poe too, but those are long posts for another day. And second, it makes the fan-service in that kiss scene more evident. You can’t have the girl kiss him and in the next scene act like it didn’t matter at all. “Ok, then it was a thank-you kiss and there were no real feelings of loved involved”. But that makes it worse, it would be even more completely out of character for Rey – who avoids physical contact with people on the regular – to just kiss someone as a thank-you. Do you see how the math does not compute? If she had feelings for him, and therefore kissed him, she should have mourned him. If anything, she should at least miss her other part of the dyad thing. And if she didn’t mourn him because she didn’t have actual feelings, then she should not have kissed him. A little consistency, it’s all I’m asking.

7. Conclusions (aka tl;dr)

He was a somehow consistent character, but the lack of plot for the sequels was a huge problem. If the trilogy had been about Ben Solo becomes Kylo Ren – Kylo Ren kills Snoke and becomes the real villain – Rey faces Kylo Ren and she either saves him or kills him, it would have been so much better than the mess the studio did.

His story in the comics is so much more complex than what it is shown in the movies, but what they did to Han, Leia and Luke was a crime.

It was clear that one director had a vision to give him a redemption, and the other to make him the ultimate villain.

Adam Driver did what he could to make this character solid and somehow likable, let’s thank him for that.

There was no reason to bring Palps back,

Rey’s actions in the final are contradictory,

He should have stayed alive to face the consequences of his actions,

and the studio is charged guilt for getting our hopes up just to crush them with their lack of interest in doing something descent for the fans.

But again, that’s just my analysis of this character. Feel free to disagree with me, I would love to see what other people think about Ben Solo/Kylo Ren.

Help! My plot is stalled!

It’s alright, friends.  We’ve all been there, sitting at a desk or laying in our beds, staring at the screen wondering what in the holy beef jerky has gone wrong because our ability to write has just come to a screeching halt.

We’re uninspired.

We’re unmoved.

We’re incapable of figuring out what happens next.

It’s time like this that our instinct is to grab a machete and start cutting through extraneous characters like a boiled steak knife through Jell-O.  We’re throwing romantic curve balls and car crashes at our protagonist so quickly they don’t have time to recover from one before they’re being traumatized by another.

Sometimes, we think, now is the time to reveal that our beloved Protagonist is actually an alien from another planet who survives by consuming the souls of lap dogs and his insatiable thirst for Pekineses is causing him great distress because the human mate he has chosen for himself has three such delicious morsels.

BUT, never fear my friends.  Here are some ideas to help you get out of that hellish valley of despair and back on track.

Take a break.  Have a snack.  Stretch your limbs.  Go for a walk.  Call a friend who listens to things and explain to them how your story is stupid and you hate it and it won’t move.  You don’t need to let your friend talk at all. Just keep complaining about your story until suddenly you realize what went wrong.

Daydream about what your character would do if you were to suddenly abandon him/her with six kids under the age of 5 at a busy theme park.  Or what he/she would do if they suddenly found themselves trying to talk two very angry kingly types out of starting a civil war because they disagree on which side of their toast to spread butter on.  Put your character in the MOST ridiculous scenario you could possibly imagine.  Make them rationalize their way out of it.  Don’t make it easy.  Six kids under the age of 5 when you’ve never dealt with children is basically hell.  Let your character suffer, and fail, improve and finally win (or at least survive).

Fantasize about beating your characters with a metal pipe.  Imagine their pleas for mercy as they try in vain to remind you that they are fictional constructs and this is not their fault.

Once you’ve cleaned your system of these violent urges toward non-real people, sit back down.  Re-read what you’ve written, if it’s still as bad as you thought it was, here are some actual bits of advice:

Regardless of what Rafiki once said about moving on and forgetting the past, the problem that you are presently experiencing is mostly caused by something that went wrong in the recent events of your story.  Take another look at the latest choices that your main or side characters made and ask yourself if maybe them making A DIFFERENT CHOICE might put your story back to rights.

Take another look at your character and his/her story so far.  Is your character excelling in every facet of his/her life?  Have they faced any obstacles that amounted to more than a mild inconvenience?  Are they generally well-liked?  Respected?  Do they have noticeable faults?  Are these faults presented in a way that allows other people to be annoyed by them?  Have these faults gotten in the character’s way?  If your main character is Too Good and Such Winning or Basically Useless and Always Failing then your story is imbalanced and it can’t move forward because you’re not allowing the protagonist to experience growth and change.

Are there relationships?  Friendships?  Family?  Rivalrys? ROMANCE?  You need relationships of at least 2 different types in a story.  Preferably more.  And they can’t all be the same kind with different names.  And they need to also be developing with your characters.  So Protag makes an unpopular choice with his family but his BFF is loving it and his Romantic Interest thinks it could be good for him.  You have so much material right there!

DO. NOT. MURDER. ANYONE.  Dismemberment is okay if you really want to have to take the time out of your story to focus on the emotional and physical effects that a traumatic event inflicts on your protagonist.

DO NOT MAKE YOUR ROMANTIC INTERESTS HATE EACH OTHER OVER SOMETHING STUPID.  Please.  Please don’t do this.  It’s really just not worth it.  If you make them so angry at one another they’re screaming death threats and then the next day they’re like: I guess we love one another again you cheapen the impact.  If this is a story about overcoming things and growing as people and forgiveness then yes, break them up and get them back together but don’t do it just to have an exciting screaming sequence.  Or do.  I mean, you do you.

Instead of tearing your couple apart, have them get together.  Have them spend a weekend doing silly, childish, amazing things.  Let them smooch, and cuddle, and eat candy together.  Let them waste money they don’t staying overnight in a fancy hotel.

Visit a Significant Character from your Protag’s past because they are in need of comfort and guidance.  Allow them to reminisce about the good old days, and whine about how they don’t feel like they’ll ever be that happy again.  Let your Significant Character hit your Protag with a rolled up newspaper.  STOP BEING A NINNY, PROTAG.  STOP IT IMMEDIATELY.

Give your Protag an unexpected promotion.  You were just a kid that cleaned stables, but we noticed that you’ve got a real way about you that suggests you’re WIZARD MATERIAL.  Build that Protag up, let him feel pride and joy and love.

(And then make the person that promoted him have questionable morals.  Make him vaguely untrustworthy.  Watch your starry-eyed protag battle against a shady man of questionable intentions to see who wins in the end!  But not with the fate of the whole world.  Like the fate of a small village at most.)

Give your Protag the single worst day of his entire life that does not involve physical altercations and/or death.  Maybe he/she pulled a muscle having athletic sex that morning, was distracted by the pain in the shower,got soap in their eyes, limped to the car to find it was out of gas, went to a busy gas station, got coffee that was too cold to enjoy, was late to work, had more work than usual, the pain meds never started working, left his lunch at home, couldn’t buy anything because they ran out of time, had to listen to the Obnoxious Co-Worker next to them complaining about Obnoxious Co Workers Obviously Useless Significant Other for an hour and a half, left work late, forgot about plans to meet up with a friend, got ignored by friend at meet up, comes home and collapses in a pile of self-pity and physical pain and has Significant Other rub their aching pulled muscle and listen to their complaints.

You could do a car wreck, or you could just ruin your Protag’s entire life by having the transmission die in the middle of traffic.

The point I’m trying to get across here is that you have to have a journey that is balanced with ups and downs.  If you’re only going up, or you’re only going down, or you’re not going anywhere at all but straight forward on a 300 mile car trip across a flat surface with no trees, there’s no story there.

You could shoot someone, or you could have your Protagonist do something that injures their relationship with their Best Friend and Confidante.  Then your Protag protests their innocence to the point that it’s obvious they are being Stupid now.  Let them roll around in undeserved pity.  Let nobody else agree with them, and still they refuse to acknowledge they are stupid.  And then let them FINALLY, sort of, a little, admit they were wrong and instead of them offering a half-assed apology and moving on like it never happened, make them work to repair the damage they inflicted.  

Put your Protag in a position where they have to defend a friend/family member or romantic interest in a non-physical way.  Susan from Biology was telling Quentin and Theodore that Protag’s BFF eats his own snot.  And Protag is like OH MY GOD I’M GOING TO GO FIND SUSAN AND SCREAM A STRONGLY WORDED LETTER AT HER.  (or start vicious rumors about her behind her back, and take utterly glee at her humiliation, and then finally think: did I go to far?  I don’t think I went too far.)

DO. NOT. GET. SOMEONE. PREGNANT.  Do you knows what happens when someone’s pregnant?  They end up with a baby.  (Or a miscarriage.)  That pregnancy cannot be handwaved away.  If you’re not here to write about the amazing journey from sex to birth and lifetime of parenting that follows, you are not here to get someone knocked up for the drama.

Sure, let your Protag develop a desperate attraction to someone’s that not the Primary Love Interest but if the Primary Love Interest and Protag already have sexual and romantic tension building between them, maybe let the audience know that this is one of those things where you’re lonely and you want companionship and it’s not really that fair to Someone You Just Met and Now Want to Have Sex With.  Let Primary Love Interest struggle to be supportive.  or let Protag and Primarily Love Interest be mean-spirited little shits and mock the poor Someone You Just Met.

DO. NOT. MURDER. AN. ENTIRE. VILLAGE.  Did a spell go bad?  Did a curse escape?  Did your magical being accidentally create a sixteen foot tall metal horse with a thirst for squirrel hearts?  Remember that wholesale murdering of innocent side characters nobody cares about does effectively nothing for your story.  Don’t kill the entire village.  Let your character freak out because he/she misplaced a curse and ANYONE COULD HAVE IT.  Let them ransack the village developing a reputation as a mad man to find it.  Let him work furiously to develop a cure to the curse and refuse to rest until everyone’s been inoculated against said Curse, and then idk, he finds it on the floor under his work station.  Or, let him realize a curse is missing and he just kind of says nothing while he watches the village to see how effective it is.

SIDE QUESTS, so here me out.  This works best for longer stories and serial type works of fiction, but if your character has only one goal and never any other goals or distractions or purposes or interests you are seriously shooting yourself in the foot.  Don’t focus all your energy on Protag Loves Love Interest.  Protag also has Family Drama.  (Did you hear that Bobert is trying to buy a fucking boat?  A boat!  Why does he need a boat!  He can’t swim.  He’s going to die.  A boat.  A god damn boat.)  Protag has ambitions at work that are being undercut by Evil Boss.  (And anyway, Worst Boss Ever, he just comes over and drops this massive work load on my desk and he smiles at me because the Main Boss is coming tomorrow and my desk will be the only one covered in unfinished work.  What choice do I have?  I can’t quit, I need this promotion, so I stick to it.  I stay late, I work as hard as I can and...)

I know it’s not for everyone but Sex.  Unless your characters are Too Young to have a developed sexuality, that sexuality needs to be in your story.  I mean, if your entire story takes place and Grandma’s funeral, then you probably can skip this one.  But if your story takes place over any length of time, sex and sex-adjacent things need to be brought up.  They don’t need to be graphic.  They don’t need to be gross.  It can be a kiss, or the yearning for a kiss.  It can be a meaningful, flirtatious touch.  It can be the idea of a flirtatious touch.  There can be complaints of a need for flirtatious touches.  To each their own comfort level, but some sense of sexuality and how that is a Driving Urge in your character is also good.

Introduce a Rival.  Go ahead.  Let your uncontested King of Bowling protag meet a New Challenger.  Send them spiral with fear that they may not be top dog anymore.

Force your Protag and Antagonist to form a momentary truce.  Let them come to some understanding of the other that makes their future interactions more difficult.  

Strike your Protag with a Great Unfairness.  They didn’t get the promotion.  They couldn’t pay the bills.  They weren’t selected to be court jester.  They didn’t get to the store on time.  Someone else got to the top of the summit before them and now they’re basically trash to history.

Randomly have your supposed Antagonist turn out to Actually a Decent Guy that you’ve been blaming for all the wrongs in the world because it was convenient and really the actual antagonist can’t be defeated because he/she overpowers you somehow.  But with Actually a Decent Guy and his Surprisingly Nice Friends and you and your friends, you stand a chance.

Push your protagonist into a mud puddle.  Just for shits and giggles, make it so there’s not a dead body in there with him.  Or put one in if you want.  Nothing says ‘happy fun times at plot-stalled high’ like a decomposing corpse where one shouldn’t be.

Break your Protagonists heart, and let there be people that love them.  

Have fun, take your time, embrace the mundane and ridiculous aspects of life.  ALWAYS give your character flaws, and make them aware of them, and let them grow.  That’s the story.  All the other nonsense, the car wrecks and gunshots, and serial killers doesn’t matter in the end.  The reader is looking for Relationships That Matter and Characters that Grow.  Characters that stink of humanity, that reflect something about human beings the reader has met (or the reader themselves).  They want to connect, they want to love your character and they can’t do that if your character is Perfect.  Nobody’s perfect.  Stories stagnate when they can’t grow.  Let your story grow.  Let your characters grow.

April 2020 Book Review - Quarantine Brain Fry Edition

This month of quarantine was much more challenging for me that last March... I suppose because we’re really in the throws of it, and the “extended spring break” feel has worn off. Between general World Anxieties and the incredible challenges of trying to adapt my work into an online setting, my brain has been absolute mush -- and I have a feeling I’m not the only one. Most of my books this month are either very easy reads (comics and children’s novels) or rereads or both! Honestly, I’ve been playing a lot more Animal Crossing than I have been reading...

So the theme for this month of reading? Treat your brain to a rest, and go reread that favourite comic or picture book or graphic novel from when you were a kid. We don’t have libraries or book stores at the moment, so dig deep into your shelf for something you love that you haven’t touched in a while. Here’s what I read:

Ghost Hunters Adventure Club and the Mystery of the Grande Chateau

I’m going to start with best and most unexpected book that I read this month (although this is actually a New Book and not a reread, so maybe it’s a bad start). It’s a Hardy Boys parody novel, and yes it’s by the Game Grumps. The only reason I even found out it existed was because my brother heard about it and we decided that this would be our next Sibling Read Aloud. It made a great read aloud. I was rather skeptical at first, but it was genuinely very clever and very, very funny. There characters were fucking delightful, as they bumbled their way through the mystery, and we ended up accidentally reading almost half the book in one sitting because we couldn’t put it down once we got to endgame. If you like satire and Classic Youth Mystery then do yourself a favour and give this a go. I am desperate for a sequel.

ISHI: Simple Tips from a Solid Friend

A picture book that was recommended to some of the local elementary children who are dealing with isolation from school and their friends. Its beauty is in its simplicity. It shows Ishi, a very simple white stone, experience challenges that it must then find ways to cope with. Things like loneliness, feeling empty or scared, being sad... all things children (and adults, I very much appreciated this little story) may be experiencing. This is definitely a picture book, not a self-help book, but it’s still very encouraging and makes me want to go and create my own Ishi. There’s a reading of it is online, and if you’re feeling like having a solid stone friend reassure you, I would recommend going to listen to it!

Bone 1-5

So, the first in my long list of books that I reread: I’ve started rereading the Bone series for the first time in years. Hands down one of my all time favourite graphic novel series. If you haven’t read Bone, it’s a classic and one of the best example of American graphic novels imho. It’s about Fone Bone and his cousins who, after being driven out of Boneville by Phoney Bone’s money-grubbling stunts, have found themselves across a desert and in a strange, fantastical valley where nothing makes sense. The three of them get drawn into the strange mysteries and adventures of Thorn, her grandmother, and the village of Barrelhaven. Such a perfect blend of beautiful art, comedy and off-the-wall cartoon-level hijinks, as well as really intense, dark adventure and tension as the story unfolds.

Also created this sequence, which may be the funniest two panels ever drawn in a comic

Here Is Greenwood v1

A charming ‘90s manga from my stash that I decided to reread. Honestly one of my favourite feel-good mangas, because it’s such a simple, pure, good-hearted slice of life without some of the gimmicks that other manga use. It’s about Kazuya starting at an all-boys school partway into the year, and moving into the school’s dorms. The entire book is just about him being constantly pestered by the well-meaning characters that share the dorm with him. It’s just goofy and fun, and has the fantastic aesthetic of a good ‘90s manga. Also, it was one of those books that, while technically not ~queer~ was also ~queer enough~ for my deprived teenage soul.

Blood Of Elves

The fourth book of the Witcher series that I’ve finished. I’ll be honest, not my favourite. I really enjoyed the beginning, the whole espionage thing with Dandelion, and then Ciri with Geralt, the Kaer Morhen witchers, and Triss. That was all really fun. It felt like it dragged a lot more though after Ciri joined Yennefer... And yet I love Yennefer as a character, she is hilariously snide and clever and really sweet with Ciri. But it felt like a scene that could have been done in a couple chapters took up half the book. Maybe that’s just because, as I said, my brain was mush and I couldn’t deal with it. I have the next book and as soon as my brain doesn’t look like chicken noodle soup anymore I will be starting it!

The Mouse and the Motorcycle

You know I love a good animal adventure story, and this is one that I adored as a child. The story of Ralph, a young mouse living with his family in a rundown motel, and how he and a young human boy discover that they can understand each other through a shared passion for vehicles... in particular a red toy motorcycle. There’s just something heartwarming about Ralph racing around a motel on a tiny toy motorcycle that runs when he makes motorcycles noises. I’ll have to find the second one as soon as libraries are open again.

Kit: The Adventures of a Raccoon

Another animal adventure story from my childhood, although this one is more of a chapter book than a true novel. This is a book that I’ve been lowkey hunting for years and finally came across in a school library. It’s a more realistic look at what a raccoon’s life is like, from birth to adulthood. Rereading it, it’s not a particularly exciting book and wouldn’t have otherwise stood out to me, but there’s still something that calls to me. It’s very gentle and makes this raccoon’s growing and learning feel very soft and compassionate, even if there are tragedies and death.

A quick edit because it was only just now that I realized that this is a Canadian lit book! Always exciting to discover that a favourite is Canadian!

Calvin and Hobbes: Homicidal Psycho Jungle Cat

Calvin and Hobbes, yet one more bullet to add to the list of Comfort Comics that I’ve pulled out to keep my mind entertained while I can’t quite process Proper Novels. I doubt there’s anything I can say about Calvin and Hobbes that hasn’t already been said. You’ve either read these books already, and are nodding along with  me, or you haven’t and therefore are not a human being I can relate to.

Spy vs Spy

I dug out some of the old Spy vs Spy comics we had as kids. They’re basically falling to pieces, but it was fun -- like so many other books on this list -- to revisit something so familiar but which I haven’t looked at in years. These were a very odd experience to reread, because on one hand Spy vs Spy comics have such a simple, goofy premise it’s hard not to just grin and laugh while you read them, but also like... yup they sure are old and kinda ~problematique~ eh? Whatcha gonna do.

The Twisted Ones

The read aloud my brother and I did before Ghost Hunters, although we technically finished reading it at the very end of March, but too late for it to make that book roundup post. Look, I’m not going to defend myself here. Yes, I’ve read an obscene number of Five Nights at Freddy’s books. The first one of this series The Silver Eyes was honestly better than I would have expected. This sequel was not as good, unsurprisingly, but the main character is still so fucking bizarre, so different than the sort of protagonist I would normally expect from a series like this, that I can’t quite bring myself to stop reading them. And when I had a moment of Realization, about what might be in store for the third book, I genuinely screamed at my brother who was reading at the time. So yes. Somehow this youth horror is better than it has any right to be -- not good but better than it should be -- and yes I will be reading the third the second the libraries open again.

The Many Adventures of Winnie the Pooh

Another reread! This was a book I got as a birthday present when I was in... probably preschool? It’s a cross between a large picture book and a chapter book. It’s essentially a “novelization” of the original Disney movie, and it has such cute art to go along with it. Winnie the Pooh has always been a favourite of mine, and reading this old book was like a warm hug. Makes me want to see if I can get my VCR set up so I can watch that old movie again...

Frog and Toad Together

A friend found someone reading this book in a very asmr-style on youtube and recommended I listen because they found it super chill. And they were right! It is ridiculously chill. I’ve never read a Frog and Toad story before, but it’s really just a very cute old book that immediately launches you right back into grade one.

The BFG

This is my first time reading the BFG and it has all of Dahl’s usual charm and quirkiness. A young girl gets plucked out of an abusive orphanage by the Big Friendly Giant, who brings her to the terrifying Land Of Giants... all of which are bigger and crueller than the BFG, and who have an appetite for human flesh. It was quick and fun, and it’s always hard not to fall in love with Dahl’s sweet characters, especially this big eared, dream-catching giant.

Hi friends! I humbly bring you Cordelia Du Pont, aka Lady! Her info is under the read more but she’s pretty well-adjusted/nothing traumatic has happened to her really. She’s just living her life as a nurse in Grimmbrook, sister to Casper, overall good vibes sooo let me know if you’d like to plot! 

i began in the light –

NAME: Cordelia Lucille Du Pont

GOES BY: Cordelia, Cordy, Del  

AGE: 33

BIRTHDAY: April 26 , 1986

FATHER: Howard Du Pont

MOTHER: Irene Du Pont

BROTHER: Casper Du Pont

HOMETOWN: Grimmbook

JOB: Nurse

OTHER IDENTIFIERS: Taurus, Enneagram Type 1 (The Reformer), ENFJ (The Protagonist)

and found, we are all stories anyway,  

GROWING UP (tw: drug use)

She up with a well-to-do family and that set her up for a good life tbh 

Her dad wasn’t around much but, as his little girl, he doted on her and that made big bro Caspy Casp resent her even more. Their mom loved her valium because life was just so rough and nannies helped raise the kiddos.

She was put into basically every extracurricular activity possible: ballet to piano to soccer and gymnastics, to art classes and being forced to sit still and learn new languages –– Cordelia had a great aptitude for learning most things but being the best at any one thing was never her main concern, like it was her parent’s. 

They were absent but around enough to care that she got the gold, or first place or the best grades, and she often did but when she didn’t, Cordelia never understood why it upset them so much. Being the best wasn’t everything so long as a) you were enjoying yourself and b) you weren’t hurting anyone else and c) maybe you were even helping someone out.

These things, combined with her general disposition to care and want to make things right made her the prime candidate to get excited about a nurse’s speech during career day one year in high school.

YOUNG ADULT LIFE

Her parents were NOT a fan but she did what she wanted, which was to, ya know, be a nurse and not a doctor. 

She was salutatorian, which would’ve made most parents happy and hers were “proud” but they just wondered why she hadn’t made valedictorian. Still, she’d lived with this dynamic for long enough that it just didn’t phase her as much (or so she said) and she focused on her goals.

She got into the nursing residency program at Grimmbrook Memorial Hospital and loved the fact that she got shuffled in with everyone else, nothing special about her. It made life better, she felt, when you weren’t trying to get to the top of the class or program. When you tried to do your best, the rest usually followed.

PRESENT

She’s been a nurse for over a decade now and still loves her job. She’s made some of her closest friends because of it and is constantly learning.

Currently, she still wishes she were closer to her big bro but they have that dynamic where no one can mess with their sibling except each other no matter how annoying she is to him or vice-versa. Du Ponts are Du Ponts are Du Ponts.

With Madison’s death, she feels horribly for the Redding family. She always thought Little Red was a horrible site but she wouldn’t have wished that on anyone. She knows Chad a bit through his work as an EMT but was never really closer than that but she can tell the family’s suffering. 

Things feel off in town but she’s doing her best to focus on work and the people she can actually help.

we are all characters on a page;

PERSONALITY TRAITS (+): encouraging, intentional, charming, loyal, intrepid, altruistic.

PERSONALITY TRAITS (-): stubborn, opinionated, overly-idealistic, overly invested, hasty.

OVERALL:  Cordelia is the type of person who, if you met her on the street and told her you were going to be running a marathon that weekend, she’d be there cheering you on just because everyone deserve to have someone who pushes them to do their best, who helps them believe in themselves a little more today, than they did yesterday. She’s a loyal to those she calls friend and is quick to defend even those whom she doesn’t know, if she sees them in need. 

She can be a bit stubborn when she believes in something. Getting Cordelia to give even an inch when she’s fully invested in something is like trying to move a mountain. Still, her investments aren’t always healthy and sometimes she gets overly invested in helping people, to her own detriment. Cordelia’s learned over the years that people can’t be rushed and that not everyone wants to be helped, and that’s alright. She doesn’t mind waiting until they do. S

She’s a shoulder to lean on and someone who will help you up again. She remembers birthdays, sends cards for literally any accomplishment, and goes to any performance/event/speech someone’s giving to support them. Overall, a classic good bean™, lionhearted and bold, Cordelia Du Pont is a good person to know, and an even better friend to have. 

HEADCANONS

Volunteers at the animal shelter in town – loves animals. Has resisted adopting one because she’s hardly home and little friends deserve to have more attention than that.

Has family dinner at least once a month: it’s always an interesting time.

Bikes to work when she can, otherwise catches a ride with coworkers who drive along her route. 

Doesn’t use her car that much, always has to get it jumped in the summer months because she’s biking/walking everywhere.

Salty snacks are her go-to saving grace, especially when she’s working an overnight.

Professional napper – girl can fall asleep anywhere. She’s learned to take rest when she can get it. 

Did gymnastics until she was seventeen and can still pull out a trick or two.

Speaks French but is a bit rusty from lack of use lately

Ace gift giver –– finds the perfect gifs for all occasions. 

our paths weave together.

childhood – hs friends – they’ve been in Grimmbrook their entire lives

college friends – they met in college and hit it off

hs exes  – can work out details

college exes – also can work out details

colleagues at the hospital – self explanatory, if your character works at the hospital, we can have them know each other!

previous patients – people she’s helped over the years

biking partner – someone she goes on weekend bike rides with 

other – let’s talk about it! 

May I ask about your thoughts on Rise of Skywalker?

You may indeed because I have Feelings and need Catharsis.  I’ll just start with general thoughts and put specific spoilers under the cut.

Edit:  I had a cut but it did not work??  Spoilers are marked in bold!!

I mean, it exceeded my expectations.  Of course, my expectations were “It can’t be worse than TLJ, right?  Who am I kidding, of course it could be” so…take that with a grain of salt.  I wasn’t bored out of my mind like I was during TLJ at least.

It felt like watching fanfiction tbh.  Like someone watched The Force Awakens and couldn’t wait for the rest so wrote their own Episode 8 and 9, but you can’t find where they posted the Episode 8 so you just have to go off context clues.  And it’s uh, typical fanfic quality but it’s still vaguely interesting enough to keep your attention even though it’s not your ideal standard of fic.

Also there is a plot hole/ass pull/that’s not how the Force works moment literally every ten minutes.  Like it loops around from being annoying to incredible to straight up ballsy.  If you are annoyed by that sort of thing, hoo boy, prepare yourself now because you’re gonna need it.

Look I feel mostly okay/somewhat positively right now but that’s because I want to try and get something positive out of it.  I wanted more from it than I got.  It was not good and I know it.  We deserved better.  Rey and Finn deserved better.  Han and Luke and Leia deserved better.  Kylo deserved worse.

John Williams did not have to go that hard with the soundtrack but he did and that’s why he’s the best composer ever.  It’s stunning and more than we deserve.

--SPOILERS AHEAD, DO NOT READ IF YOU DO NOT WANT SPECIFIC SPOILERS--

So when I said “straight up ballsy” with ass pulls I mean literally the first thing you see is “Palpatine’s not dead!” and then they never really explain it.  It’s incredible.  You have literal billions you could spend on budget and like….you write typical fanfic quality work.  Like I can’t even be mad, it just so incredulous I just get stuck in the wow stage and can’t move on to annoyance let alone anger yet.

At least they don’t do my boy Palpatine dirty.  He’s there.  He’s evil.  He’s the biggest ham in the galaxy.  He says “Do it!”  I am a simple girl with simple wants and this, at least, satisfied me.

The new trio actually ACTS AS A TRIO!!!  It’s honestly what made parts of this movie watchable.  Rey, Finn, and Poe are friends and they trust each other and they work together.  They don’t always agree but they are a team.

I for one love Threepio’s endless bitching and he gets lots of good lines.  ALSO HE DOESN’T DIE, THANK THE FORCE.  HE’S OKAY AT THE END!

You know who else doesn’t die??  Lando and Chewie!!  I was very concerned but they make it!

There’s no Mando cameo that I saw so I like to think that Mando is happily raising baby Yoda safely somewhere were he can eat lots of frogs.  Aunt Cara and Grandpa Kuiil visit on weekends.  (Alternatively, Mando got Lando’s call and just answered “Can’t you see the baby on board sign, do I look like I can go into battle???” then hands the baby a real toy that isn’t a choking hazard.)

Finn does not train as a Jedi because no reason but is blatantly Force-sensitive, operating on “a feeling” several times like Jedi are explicitly shown to do in other films.  John Boyega and Finn deserved so much better.

Especially because every single Rey/Finn scene is Finn supporting Rey, believing in her, helping her even though she’s struggling mentally a huge amount through the entire film.  There is so much friendship and trust there (and definitely a strong case for Finnrey) and it’s awesome.

It especially contrasts the fact that every single scene between Rey and Kylo is rapey, creepy, assault-y.  Rey is literally being assaulted by Kylo mentally and physically.

If you’re reading spoilers I assume you want to know…. there is a Reylo kiss.  A dry, bland, chemistry-less Reylo kiss that was so forgettable I couldn’t even be that mad about it, because the film acts like it never happened after.

But I’m still mad because I will never, as long as I live, remember refusing to hope or believe that the new films would have a girl be the main character.  And I’ll never ever forget looking up at the big screen on TFA night, in my Rey costume, watching her pick up that lightsaber and be the hero!  There was a Jedi on the screen who looked like me!  A Jedi who was a girl just like me!  And if I, a grown-ass 26-year-old woman felt that way, can you imagine how little girls watching that movie must’ve felt??  And now those same little girls watched Rey kiss the man who continuously stalked, harassed, and abused her.  Fuck whoever approved that.  May every Lego find your feet.

But I refuse to let the trilogy take Rey from me.  I love her, and if nothing else, she is the protagonist again.  She’s driven and proactive.  She wants to do the right thing but struggles to do it and it’s very human of her.  She may have incredible power but she doubts herself and wants to check herself.  But at the same time she also has kickass fight moves, is daring and badass.  So I got that, at least.  I adore her and she deserved so much better.

(Don’t get me wrong, Finn did too and I am definitely mad little black boys don’t get to see themselves as a Jedi hero onscreen, but Rey is really personal to me.)

Kylo is awful.  They don’t have the balls to make him a full villain but his ~redemption~ is weak and not really justified.  Every time he comes on screen he just drains any interest out of the film.  And he takes FOREVER to finally die.

The whole theater burst into laughter at his death scene though.  It wasn’t tragic at all, it was stupid.  Vindication tastes so sweet.

The worst thing though is that Leia dies to save him.  This greasy-ass womp rat is literally the reason the OT trio is dead.  They all died because of him.  Disney threw away Han, Leia, and Luke and all we got was fucking Kylo Ren.

Also they retcon “Leia trained as a Jedi the whole time!” but she puts away her saber because she had a vision about it being involved in the death of her son.  So not only does Leia die for Kylo, we never see her as a Jedi because of him either.

Although Leia training Rey was actually really cool, as was her having a saber.  (You know what would’ve been cooler?  Besides the Thrawn trilogy?  Actually seeing her as a Jedi.)

I don’t have a problem with Rey taking on the Skywalker name personally.  If Han, Luke, and Leia were in-character the whole time they totally would’ve adopted her and raised her to grow beyond her roots as Palpatine’s grandchild.  And she was positively impacted by Luke and Leia Skywalker so it felt like a spiritual adoption to me?  But ymmv and I’m definitely biased.  As I mentioned before, Rey has a special place in my heart and I’d originally hoped she’d be a Skywalker or Solo.

The worst part of this movie is that is that Palpatine has, presumably, canonically fucked.

Although honestly I don’t buy that, it seems way more likely he cloned himself and raised one as his son (”Hmm, that Jango had the right idea”) because we know how much he loves cloning.

Tl;dr I watched it once and that was Enough.  I’ll buy the soundtrack for sure, and a Black Series RoS Rey to go with my other two Reys, but probably not the DVD.  I’ve seen it and it’s time to return to obsessing over the Mandalorian and Baby Yoda again.

Booksmart slaps. It’s just a huge amount of fun to watch - the key word here for me is “good-natured”. This is a good-natured movie that teases and pokes fun at a lot of people - a lot of *kinds* of people, from the queer drama kids to the dopey jocks to the Gen Z overachieving feminist types who have pictures of Michelle Obama on their wall and can quote Susan B Anthony from memory - without ever making fun of anyone in a mean-spirited way, and highlighting that no one is ever “just” their tribe. The ending ties the story up neatly with a feel-good bow about how no one is really what they seem on the surface, especially not in high school, when everyone’s trying so hard to be invulnerable… which also means they can’t be *seen*. There’s a lot of great character work here that I think could’ve been fleshed out even more (the 1 hour 45 min runtime feels shockingly short in the day and age of Endgame) but still feels natural and sincere, and the huge array of secondary characters - real characters, not just insert-famous-cameos - gives this movie not just humor but so much life and buoyancy.

(Warning: light spoilers beneath cut)

What keeps it from reaching the top tier for me, though, is that it somehow still feels like something I’ve seen before, even though the window dressing is so different. It’s definitely rare to see female best-friendship displayed so frankly, genuinely, and *hilariously* on the big screen, and I can’t remember another movie where the nerdy valedictorian is a boss and knows it, not to mention one where one of them is a lesbian (my young baby lesbian Amy!! protect that cinnamon roll), but the story of two blood-sworn, childhood-, everything-friends reaching the last chapter of their adolescence together in fun and games and boozy celebration, all while the fear of how they’ll face the great unknown without the other is this silent undercurrent churning beneath… that feels familiar to me? That doesn’t keep me from loving this particular theme, because it IS a great one, I just mean it’s not as original as Ladybird, so it lends itself to comparison more easily. 

Superbad, for instance. I actually kinda hate how every review (including the one linked here, which is totally in line with my sentiments) keeps calling this “the female Superbad”. Yes, it’s a coming-of-age comedy about two friends at the end of the senior year trying to go out with a bang together, and yes, it’s a little raunchy, and yes, it really is all about the friendship between the two main characters at its core… but the whole texture, color, and point of Booksmart are completely different. 

By texture, I mean that even as the two girls are the “heroes” of this quest, it’s still interested in the characters outside them, such that you really get the sense that they are their own people, with their own lives and inner life. In the briefest of screentimes you grasp instantly why someone like Molly would be attracted to easygoing jock Nick (but then connects to the hopelessly-messy-but-sweet Jared), and why Amy likes the skatergirl with the big toothy grin. The other kids and love interests aren’t just vessels for Molly and Amy’s own awakenings. In fact, some of them have their own troubles, and they’re all really pretty good kids.

It’s interested in the way that the two mains are, in their own way, not the most perfect people. How the world’s really not out to get them; in fact, they’re the ones who have to learn to fit into it. I talk more about this below, but this was the part I liked the most, because it feels particularly true to life in a way that I don’t think I’ve seen in many other coming-of-age narratives, much less light-hearted comedies.

Speaking of light-hearted, the whole tone of the humor is waay different from Superbad’s too. It’s funny as hell, which is probably the most important thing at the end of the day — there were a few scenes that had me and my entire theater howling — but amazingly for a coming-of-age comedy, I remember very few of the jokes being gross-out or sexual, or even all that cringe. Booksmart mines a lot of physical humor just in their sheer facial expressions (if a picture is a thousand words, Beanie Feldstein’s face does the work of a thousand punchlines), but it’s mostly the little throw-away lines and hilarious sketches (the attempted robbery in the car! Amy’s overly-well-meaning parents! everything GiGi and Jared do) that string everything together and carry the day. That’s not to say that there aren’t serious moments that are given due weight too — Amy under the water, submerged in that song is just an absolutely beautiful shot. 

It reminds me a little of Bo Burnham’s Eighth Grade, which I think is a more interesting comparison than Superbad here. Booksmart tries to capture some of that raw realness that Eighth Grade had, underneath all the silliness and humor; it is, in many ways, about how hard it is to be vulnerable to someone else, even (especially) the people you love. It pulls at a lot of strands and among them are the idea that this is what high school is really like, that to be honest all these boys (and girls!) who hold your heart in their clumsy, sweaty fingers will be like leaves in the wind years from now, that standing on the entrance to adulthood isn’t a physical change, it’s not about booze, or losing your virginity, or getting accepted by your peers. Becoming an adult is inner work, alright, but it’s also not work you can do on your own. Because it’s about how you treat yourself, but it’s about how you treat other people too. 

But I think where Eighth Grade really succeeds is this it has this kind of specificity to it — it really, really is about this awkward girl, and her lonely existence, and about being a girl who is becoming a woman in a certain context. And that specificity gives it a kind of honesty that rings painfully true to me. Booksmart — probably because it is trying to avoid stereotypes and do something entirely new here, which is totally commendable — almost feels a little too universal. It feels like you could replace Molly and Amy here with dudes, and it wouldn’t be a huge change in dynamics outside the pussy hats and Malalia worship, because these two are defined more by their identities as “overachieving party-pooping best-friend NERDS” than by being girls per se. These are two whipsmart dorks who are best friends, and happen to be female, rather than a portrayal of female best friendship per se. And the other kids treat them that way too: no one gives a shit Molly’s chubby or Amy’s a lesbian, they give a shit that they’re exasperating know-it-alls.

Which is REALLY refreshing. I’m being unfair here — it’s *because* it’s so rare to see female friendships or just girls in general depicted this way on screen that I think it doesn’t quite “fit” my own intuitions about real life. But I’m a weird case of someone who really struggled in high school, and definitely didn’t have friends much less deep ones like theirs, and I bet other women would recognize themselves in these two and their relationship much more. The frank vagina talk and the fact that Molly and Amy are actually really self-assured and even pretty damn well-liked are just super freakin’ cool anyways. In particular I LOVE the way they’re still dorky, in a way I so rarely see female characters allowed to be because female characters written by dudes tend to be so poised and “above” the main male protagonist (probably because the screenwriters are thinking back to their own high-school crushes, who must’ve seemed so mature and unattainable to a nerdy teenage boy). 

It goes back to what I said about this being an affectionate, feel-good movie where everyone turns out to be pretty decent in the end. It doesn’t set out to be much more than that, and I’m not sure if I wanted it to be, but I think it’s that fact they didn’t go all out that keeps it from being a 10/10 for me. It’s just very sweet and knowing and funny and always making sure to laugh with these oddball kids, but that same gentleness keeps it from being something great; it’s like you need some claws to expose something “real”.

It’s a little strange to me, for example, that the movie dishes out a lot of high-school tropes — all the kids are playful representatives of some stereotype — but doesn’t seem to have any real bullies, and happily accepts the two not-very-outcasted outcasts at the party with open arms. And the girls each get their heart crushed, but only for like five minutes before they (tbqh) each get an upgrade. Every Gen Z tribe gets represented — from the failing stoner who actually has an offer from Google to the misunderstood school slut to poor Jared, my sweet beautiful mess of an unloved richboy — in this kind of Glee grab-bag kinda way, but without Glee’s sense that what ties us all together is this fucking shared suffering called high school; Booksmart’s high school is more like a utopia where everyone wears what they want and gets to be quirky and different and much cooler than you think in their own individualistic way. (They even have Jessica Williams as a teacher! UGH, so jelly.)

There’s something that’s actually really subversive about this, because 1) no one’s a villain and 2) to the extent that Molly and Amy are unpopular, it’s kinda brought on by themselves. *They* were the ones who chose never to hang out with the other kids, because studying was more important. *They* are the ones who have to learn something. Molly was the one who judged everyone by the school they got into, even as the others never gave a shit about it. Amy came out two years ago, but the reason she’s never had a kiss isn’t so much because she’s a lesbian, but because she’s too timid and unassertive as a person. Molly’s character arc is discovering that she’s too freaking judgey and she needs to stop assuming she knows everything from the cover, Amy’s is to realize herself as her own person outside of the (admittedly powerful) centrifugal force of her best friend. 

Those are GREAT ideas for arcs, it’s just that the execution of them didn’t completely land for me — maybe because the jokes were competing so much with the serious bits for screentime, it had to scramble at the end for the moment of character growth. So it didn’t feel fully “earned” to me, even as it worked on the thematic level of truly seeing people when you aren’t blinded by your own assumptions. 

Still, it’s a really satisfying movie with a different take on a common trope, and packed with killer lines and secondary characters like Jared that are just so great (he’s one that feels especially on-point to me because I recognize one of my old classmates in him — a great kid, just… swimming through life in a different lane). The cameos by the adult actors — Jessica Williams, Lisa Kudrow, Jason Sudeikis, Will Forte — were predictably fantastic. In fact all the acting and casting was SO GOOD (I found out later that the casting director was the one who did Freaks and Geeks!). I’m impressed by Olivia Wilde in her directorial debut here, it’s clear that she has an ear for comedic beats and some of the shots were wonderful — in a lot of comedies the camera is just kinda static and it’s all talking heads, but here the angles, the POV shots, the longer takes that move in and out of sound add so much dynamism. Excited for what she does next.

The Lego Movie 1 & 2 (and The Lego Batman Movie)

The first Lego Movie film simultaneously came out of nowhere (I didn't see a huge build up of hype), but at the same time, seemed long overdue. Yes, first and foremost, it's a way to keep the Lego brand front & centre on everyone's mind. But why not also cram it full of fun and heart?

The Lego Movie 2: The 2nd Part (2019)

Last month, we watched The Lego Movie 2: The 2nd Part at an advanced IMax screening on Feb 6th. We hadn't watched the original film in a couple of years, but had enjoyed it, and and *just* recently watched Lego Batman (which we also loved), were really looking forward to this.

TLM2 didn't disappoint, but didn't feel as satisfying as the 2 previous (no we haven't seen the Lego Ninjago film); it was full of laughs, and a song called "Catchy Song" that the film will *not* let you forget (think "Upbeat Inspirational Song" from "Teen Titans Go to the Movies".

In fact, I felt TLM2 film echoed the Teen Titans film in many ways, not just in having an intentionally silly & infectious song; from the overall tone, to even the general protagonist's plot arc.  Not that surprising, when both were produced by Warner Bros. Animation.

If you haven't seen the 1st film, the big reveal / twist at the end gave the 1st film a lot of heart.  In TLM2, I feel they spent *too* much time  on the same 'reveal', and it ground most of the plot pacing to a halt; I actually prefered the way that The Lego Batman Movie ignored the reveal at the end of TLM, but to be fair, you can feel this (along with the 1st film) are aimed at an even younger crowd, and I think it works for them (their attempt to inject heart into this film ended up being a little bit cheesy for me, but I think it works for the target audience), but the rest of the film delivers on laughs. Big time.

In fact, while the plot was nowhere as coherent or as smoothly transitioning as the 1st 2 films, TLM2 had us laughing throughout; in particular, I loved the meta humour as Christ Pratt as Emmet meets Rex Dangervest, a character who is the combination of Chris Pratt's Josh Faraday (Cowboy from Magnificent Seven), his Owen Grady from Jurassic World 1 & 2, and his Peter Quill / Star Lord from Guardians of the Galaxy.  The fact that Emmet is the everyman from every RPG / hero's journey from obscurity, who would of course be amazed by a wild west cowboy, a dinosaur cowboy, and a space cowboy.

The plot did stall in pacing a few times, especially while the characters were stumbling around, 'bewitched' by  Tiffany Haddish's Queen (the character's name will induce eye-rolling) and it felt like the film maker's themselves weren't sure how the middle portion of the film should connect the beginning and the end, they made sure there were laughs aplenty en route. And, as I'd mentioned, an ear-worm, catchy silly song that measure's up to the original's "Everything is Awesome". Oh, and stay for the credit's if you're also a fan of Andy Samberg's Lonely Island; unfortunately there's no post credits scene though.

Seriously, the soundtrack is so catchy, my wife immediately added it to her workout playlist.  Just going to leave "Catchy Song" from TLM2 here. You'll love it and hate it all at once.

YMMV: it's skewed a bit younger than the other 2 films mentioned here, so that may really bother some people. Conversely, if you were planning to take kids anyway, you may regard this even more highly.

Overall, B, 8.2/10

The Lego Move (2014)

Chris Pratt, Elizabeth Banks, Liam Neeson, and Will Ferrell star in... well, essentially the film that everyone who grew up playing with Lego had imagined in some form. But voiced by huge stars; Morgan Freeman & Liam Neeson in particular add a nice gravitas to the film, which just adds to the enjoyable silliness.   Immediately after watching TLM2, we felt it wasn't quite as satisfying as the first and popped that in for a re-watch. We weren't wrong.

TLM's simple, staple RPG plot (the undiscovered diamond in the rough will save everyone) flows smoothly from point to point, and with virtually all the Lego licensed properties to parody, one scene in particular always gives me a chuckle: when Morgan Freeman's Vitruvius is addressing all the Lego licensed characters at once, juxtaposing Renaissance painters and Ninja Turtles, or the fact the Dumbledore and Gandalf are essentially the same character.  One of the great joys of this film is the sheer number of licensed character cameos that they simply crammed in because it was funny (and, probably also to sell some of said minifigs).

Emmet (Chris Pratt) is a nobody, recruited by Obi Wan (er Vitruvius) and who is predicted to be the chosen one to save Bricksburg from the evil Lord Business (Will Ferrell). So while the plot itself is hardly new, it was all so charming. Set to the tune of "Everything is Awesome", the bright colourful characters and intricately modeled backgrounds will have you grinning. Plus, you get to hear Liam Neeson yelling "Darn Darn Darn Darny Darn!" Don't spoil the surprises for yourself if you haven't already seen this. A-, 8.9/10

Oh, also the 3d was great in this film; clear, not detracting or headache inducing. At least, for the rendered parts anyway. The bit at the end with the reveal could have been clearer, but the film didn't suffer for it. I've yet to see the other 2 above in 3d, but hope to someday to see if they're better or worse in 3d.

The Lego Batman Movie (2017)

The Lego Batman Movie avoids the "pulling the curtain back moments" of the 2 main films of the franchise, and while that might give it less heart than TLM, it also doesn't have that same "younger audiences only" target demographic. It's clever and funny, never takes itself seriously, and while still quite slapstick, feels like it's aimed at all ages.

Bruce Wayne/ Batman thinks he works best alone, but accidentally adopts an orphan and discovers that maybe solo isn't the most satisfying way to live his life. The plot doesn't need a detailed synopsis; suffice it to say where TLM provides fan service via all the guest cameos of the various Lego licenses, this film provides fan service to every iteration of Batman, including long forgotten comic book villains you'll need to Google!

And somehow, replacing all the gunshot sounds with someone  literally yelling "Pew Pew Pew" all the way through this movie amps up the comedy (without crossing the line into pure silliness).

Will Arnett nails it as Lego Batman through all 3 of these films, but the casting of Michael Sera as Robin is genius. A, 9.1/10.

Oh, and Phil Lord (co-writer of both TLM1 & 2, producer for TLBM) also co-created Clone High, How I Met Your Mother... and wrote Spiderman Into the Spiderverse.

This guy's pretty good.

OUAT 2X13 - Tiny

Hey, reader! Your TINY-ing couldn’t be better to check out my latest review! XD

Yeah, not my best pun, but it’s not too GIANT of a misstep! XD

COMEBACK!

Now go under the cut and read my review!

Press Release

Kidnapped and brought to Storybrooke by Cora, the Giant unleashes his vengeance on the town when a case of mistaken identity leads him to try and settle an old score with David; Mr. Gold, accompanied by Emma and Henry, attempts to depart Storybrooke - hoping to keep his memory intact when he crosses the town line – and heads to the airport in search of his son Bae; and Greg (Ethan Embry) questions Belle as to what she saw on the night of his car accident. Meanwhile, in the fairytale land that was and against his brothers’ wishes, Anton, the Giant, climbs down the beanstalk and attempts to befriend some humans - whose intentions may not be so noble. General Thoughts - Characters/Stories/Themes and Their Effectiveness Past I really like the conflict in this episode and how it relates to the present later on. We clearly know the outcome of Anton’s voyage to the human world, but Anton never feels like he’s being foolish in this flashback. Anton’s research, kind heart, and inquisitive nature are not being satisfied (And as often implied, even mocked and bullied) by his siblings. But, in that same token, they are not completely cast as bad either. Anton clearly cares for them, and his oldest sibling is shown to be wise in many ways and it’s his lesson of seeking another land that proves to be the key to Anton’s eventual happiness and livelihood in the present.

James’ and Jack’s plan is a great one. That plotting is devious. The staging of it all was well done enough that it doesn’t feel contrived, but understanding of the kind of person Anton is and malleable enough account for missteps. Just go back and watch the bar scene. James has his outburst at the guard just loud enough so that Anton hears him, and of course, Anton, the curious guy that he is, would ask about why. Jack just happens to bring up the subject of beans and while Anton can’t help her in that regard, what else are giants known for? Their treasure, something Anton can be far more generous with. And give him enough motivation and he’ll go right over there with the bare minimum security. It’s honestly one of the best and most underrated evil plans on the show. It’s simple, but intelligently suited to its victim. Present I love the Storybrooke section of this episode! Anton, while the antagonist in this segment to David’s protagonist story, is never made to be a bad guy because the entire time we’re with him attacking, we’re aware of his plight. Because of that, we want him to pull through and get along with everyone and the episode gives that emotional payoff while still ensuring that Anton does learn his lesson about humans. David is in his best form throughout the episode, kind and compassionate but not without his limits and Snow acts as a great source of support and friendship while Leroy rounds out the trio with his comedy and everyman presence in town (And later on, surprising amount of heart).

It’s so great to see the people of Storybrooke acting as a unit again during the rescue and aftermath of Anton. It reminds me of the efforts made in episodes like “A Still Small Voice” and it fits into the story well as a bulk of humans are able to prove themselves to Anton at once.

Also, let’s talk about the airport scenes, but it helps make this episode so memorable. The security scene is both so hysterical at first and so tense and terrifying once the shawl comes off, even after the safe resolution. That having been said, I will say, I wish things were a little bit clearer as to why Rumple was freaking out even after he retained his memories. I can’t help but feel like they were almost going to go for a different angle like actually having Rumple at one point revert to his cursed self (Note how Rumple places so much emphasis on how important it was for him to keep his true identity), but it was abandoned. Otherwise, what was the purpose of the freakouts because we only got a few seconds of waviness as he was crossing through security before getting the shawl back? I like the idea of Rumple freaking out over not having his magic for the first time since the curse broke and realizing that his mortality is back, but what brought it on and how it was handled was weird. All Encompassing This segment is also notable in the fact that not only is it Anton’s first and only centric, but it is the first time that we really see the distinctions between David and James. Before, we saw a bit of James before his death, but while bits of him can be understood with the aid of hindsight, but this is where the character was truly defined for the first time. Whereas David so often acts for the betterment of his people and even those who oppose him (to the point where he attempts to sacrifice himself for Storybrooke’s safety and then later endangers himself for Anton’s sake), James is only interested in himself and won’t lift so much as a finger to help someone if it puts him in danger. Insights - Stream of Consciousness -”I think layers are always a good idea!” Nice subtle showing of Mama Swan! -I don’t know why, but it cracks me up how Rumple’s covering the expenses of their trip! XD Charming summed it up best: “You’re a real gentleman, aren’t you?” -”This isn’t a threat, it’s a request. Take care of them.” Aww! I love that extra bit of Sheep Bros! And Rumple actually responds to it! -I like also how Rumple’s being much more overt to Emma and co about who it is he’s looking for. I’m going to call that a slight development in his emotional honesty. -David, I am with Snow. That holster looks great on you! -Regina needs to join the Storybrooke acting troupe alongside Killian, Cora, and Rumple. Actually, someone make a fic out of this! Please? -”And we’re sorry.” I love how Snow completely follows through on her resolve from the previous episode. -First Captain Charming scene! Yayyyyy!! Honestly, it’s just as perfect as I’d hoped it would be! -Not gonna lie, I don’t even think it’s a shipping thing, but seeing Killian flirt with Snow like he does by the cops doesn’t flow with me at all. It’s just creepy, and I feel bad saying that, but it just is for me. -I never realized before that The Jolly Roger is made from Enchanted Wood. That’s pretty cool! -Anton is an adorable little bean! -I just realized: Now that the realms are merged, is Anton essentially out of a job, or are the beans the equivalent of teleportation now? Like, if I want to visit Elsa from Granny’s, can I just throw a bean and be right there? And if so, then Anton is now a multi-millionaire and I just couldn’t be happier for the guy! -Watching this flashback makes me hate the flashback in “Flower Child” so forking much. Everything that is done wrong there is done right here. -Holy shirt! Anton can punch! Like, get him on the main team! -The set up of the mystery of why Anton hates David is a very well done one for as brief as it is. It gives the audience a moment to establish how Emma’s actions have shown Anton that some humans aren’t evil as well as the fact that Anton isn’t a bad guy, but showing a clear snapping point for him. -Red Beauty! Yayyyyyy! -Hospital staff: It’s probably not a great idea to have “Good Morning Storybrooke” playing when you have two patients who aren’t supposed to know about magic. -Awww! Ruby loves books too, and reads from Belle’s favorite author! She’s just too sweet! -”Why does everyone keep calling me that?” ...Because it’s your name and you haven’t said anything along the lines of “my name is Lacey.” Introduce yourself! -James just has no shame! He’s about to have sex, his dad comes in, and he’s practically about to continue on! -I feel so bad for Anton! He so has a crush on Jack, and Jack’s just...well, not the worst, but definitely in the top 50 worst. -”How terribly uncivilized.” Rumple, you used to live in a world without indoor plumbing. You’re one to talk! -”Have you ever been on a plane before?” Have you ever been impaled upon a cane before?” That is forking hysterical and will never not be! XD -”You father?” Rumple, you are close to a century older than Emma! Yeah, you could be her dad! XD -Has anyone ever commented on how there’s literally no reason for the shawl to go into the bin. It’s not metal. Am I missing something here? -I want that roasted pig so badly! -”You’re human. I hate humans.” Part of me is thrown a little off base with this line. On one hand, Anton does what humans, but when David, Snow, and Leroy found him, he was more relaxed. However, I’m willing to waive it off to him getting his bearings upon waking up in a strange land. -Oh, shirt! Rumple can’t heal himself! BLOODY HELL! XD -That light is so unflattering for Robert right in the bathroom scene. -The entire conversation between Anton, David, and Snow concerning Emma and James is hysterical. As far as miscommunication scenarios go on this show, this is one of the best. And the follow up conversation between David, Snow, and Leroy over David’s name is equally so! XD -Don’t worry, Anton! Just HOLE-d on! XD -Awww! Look at Anton learning how to use a pickaxe! Anton, never change! Arcs - How are These Storylines Progressing? Regina’s Redemption - It is so hard to watch as Regina double crosses everyone in this episode. I don’t think it’s poorly done, and MM and David’s lines about not needing Regina’s say about Henry make the betrayal a well set up ad effective one. It builds well off of the last couple of episodes and while a touch accelerated around this part, I do think that the overall pacing works here. The People of Storybrooke Going Home - So this arc was really introduced during “The Cricket Game,” I believe. So far, I’m not sure how well it’s being set up, but I will say that this is the clearest the the arc itself has been defined since its inception. Favorite Dynamic David and Anton - David’s interactions with Anton are a true testament to his kindness and leadership abilities. Anton punches him in the face and refuses to cooperate with any attempts David makes to reason with him and yet David simply doesn’t give up on helping him the right way because of who he is. Additionally, how he rallies the entire town together for that same cause is inspiring. He knows the damage his “father” did and he wants those affected by him in any way (even through his progeny) to be helped, no matter what it takes. And on Anton’s side, just like with Emma, he’s receptive to that kindness and the belief in David doesn’t come from just simple information or evidence, but from David’s straight-up actions of offering himself up as a sacrifice and later saving him, and that’s so amazing! Writer Christine Boylan and Kalinda Vazquez are “Tiny’s” writers, and this is a great team up. The pacing of this episode feels very good, moving so that things aren’t rushed, but the stories remain flowing. Additionally, the framing of the writing is quite intricate, careful to not make anyone a bad guy but to also direct the sympathy where it is deserved. Additionally, the manner of Anton’s forgiveness (Both to him and from him) is expertly handled through the actions of the entire town saving Anton from the hole and him helping everyone grow beans. Rating 10/10. I love this episode’s story. Anton is a likable and layered character to follow and his journey with Ruth’s twins across the two timelines is equally layered. The story itself is very lowkey in comparison to some of our previous episodes, and it’s a welcome change of pace! It’s a super simple, yet quite detailed character story that allows for a lot to be done with James, Snow, Charming, and Leroy’s characters. Seeing all of these characters build off one another is what Once Upon a Time does best and the hearty story makes it all the better. While I didn’t find the storytelling at the airport to be as airtight (pun always intended) as the other segments (Ergo, why this isn’t a Golden Apple), the scenes on their own can be super entertaining (Especially EVERYTHING with Rumple in the first half of the security scene). Flip My Ship - Home of All Things “Shippy Goodness” Snowing - It’s just really nice seeing Snow and David working together! They’re so supportive and protective of each other, ranging from hugs to verbally helping each other during discussions with Anton, Hook, and each other over the differences between David and James. Snow and Charming are always expressing their love in some way, and it’s so subtly heartwarming. And hearing Snow talk about how she had fun today and missed their little adventures as she dances around him and the sidewalk is just great! Grumpy Giant - Freakin’ hollythecurious got me into the swing of this ship, and I love it and her for introducing it to me! XD Look at Grumpy’s adoring looks as he helps Anton get settled in to life in Storybrooke and how forward he is with his assistance. This is Grumpy we’re talking about and he’s rarely as likely to take the initiative in regards to introducing people to the town. And dammit, it’s so cute! Hell, he even moves the dwarves’ entire workforce to help Anton grow beans and calls them “our crop!” ()()()()()()()()() Thanks for reading and to the fine and fantastic folks at @watchingfairytales for their continued support and the project!

Wow! this season’s going great, but wow am I tired! Writing these long ash reviews is exhausting! You know what I could use? A drink. How about a Manhattan? ;)

See you next time.

Season 2 Tally (114/220) Writer Tally for Season 2: Adam Horowitz and Edward Kitsis: (29/60) Jane Espenson (25/50) Andrew Chambliss and Ian Goldberg (24/50) David Goodman (16/30) Robert Hull (16/30) Christine Boylan (17/30) Kalinda Vazquez (20/30) Daniel Thomsen (10/20)

Operation Rewatch Archives

Seeing as I was that one kid in middle school who got their book confiscated in class, only to pull out a second, usually bigger book (a backup book, if you will), I consider myself an avid reader. I could go on for days about what exactly I enjoy about storytelling - my obsession with the creativity of the human race in particular is a topic for another day - but one thing I’ve noticed over time is character archetypes.

Even people who aren’t repressed bookworms (or bookwyrms, if anyone else was around for that unfortunate trend on tumblr when socially awkward nerds were convinced reading made them automatically superior to ~braindead mainstreamers~) are familiar with archetypes: there’s the hero, usually the protagonist of the story who never actually seems to be the fan favorite (or even in the top three, for that matter); the sidekick, who often falls into the role of comic relief and typically gets little to no significant characterization; the love interest, whose design trends are steadily improving from the cardboard-cutout, cookie-cutter, blonde-and-blue-eyed waifu trope; the villain, who everyone always has the hots for (me included, not gonna lie); and other, more obscure categorizations - in general, archetypes are a pretty well-known factor of storytelling. Most people, when they think hard about it, can identify a trend in their favorite characters. They have a type, you could say - one I notice a lot is the dark-haired, cynical boy with daddy issues and a dry sense of humor who always gets on the main character’s nerves while simultaneously coming off as wildly attractive. That’s a really popular one. I could give a whole column listing characters for that one alone. But I digress.

My point in this talk of archetypes is to touch on one I’ve always found myself drawn to: the martyr. For those who don’t know what a martyr is - although I’m sure anyone who took an AP English class can recall how many books strived for this oh-so-tragic characterization - it’s someone who, according to its most basic definition, suffers and wisthands pain, persecution, and often death in order to maintain their beliefs, or to protect something sacred to them. In history, it typically refers to religious figures or those who otherwise sacrificed themselves in the name of their religion, but in writing, I think the definition has expanded a considerable bit to include those who fight tooth and nail to the end of the story - or only to the end of their story, if that’s shorter than the work itself - as a beacon to their cause. There’s some admiration always underlying their sacrifice; they gave themselves up for us, the others characters keen, we owe our victory to them. We have to keep going for them. You know the story, I’m sure.

But one subcategory of martyrdom, the one that never fails to catch my attention, is confined to the self. That’s a pretentious way to phrase it - this whole thing feels a little pretentious, but self-awareness in volume is better than complete silence, I think - but what I mean is when the sacrifice isn’t some big scene; there’s little to no fanfare as these characters destroy themselves, and often, their reasoning and motivations are dwarfed by the typical Big Purpose of the work they appear in. Their intent is obscure, their actions often overlooked, and usually, their conflict is internal and relatively invisible beyond their self-destruction. They’re not a tragic hero, in most people’s eyes; they’re a shadow of a character, a disembodied voice that echoes in their own head more than it resonates throughout the narrative.

I see these characters with one of two motivations, more often than not: rebellion or apology. Some characters feel unbelievably pissed off with their circumstances, but they know they can’t act out with a flash or bang, so they turn to self-control and throw it to the wind. They look their problem in the eyes and they tear themselves into pieces. It’s spiteful, and inflammatory, and it is the only option they have access to in acting out against whatever oppression they’re facing. Some characters, on the other hand, see self-immolation as a route to forgiveness. These are the characters who view themselves as burdens or bad guys; they think that maybe, if they destroy themselves enough, if they get rid of themselves bit by bit, if they suffer without complaint or cry - just maybe - it will make up for the fact that they existed in the first place. There’s also that underlying whisper of sense, a need for explanation; if I inflict this on myself, if I’m conscious in this destruction, I’ll have a reason to feel the way I do.

Regardless of motivation - the ultimate rebellion or the ultimate apology - I feel that this trope in characters is innately and entirely a cry for help. They hurt themselves, actively and angry, passively and resigned, and fundamentally, they want their pain and destruction to be noticed, hoping throughout their decline that someone will look at them and say, “Oh my God, what are you doing to yourself?” or beg them to stop, or explain to them all the reasons they deserve to preserve themselves instead of destroy. They hope that the forces that be will see the lengths they’re willing to go to end their reign, that they’ll stop in awe and respect of their steadfast sacrifice; they hope the people they’ve hurt or the people they burden will notice their silent suffering and tell them that they don’t need to destroy themselves, that they are already and forever forgiven. There is, at the core of these characters, the all-encompassing need to be seen.

For a long time after noticing this trend in my favorite characters, or the stories I fixated on, I couldn’t help but wonder what the hell was wrong with me. Why did I enjoy seeing characters suffer? They’re fictional, of course, so it wasn’t as if anyone was actually getting hurt, but it bothered me to think I found comfort in others’ pain. I was sure, for a good while, that something inside me was just twisted and fundamentally fucked up.

From reading these descriptions now, though, you may have realized what took me so long to do - it’s not exactly difficult to draw parallels to the mentally ill experience.

The battle in your head that goes overlooked and misunderstood by those not fighting it; craving a sense of control when external factors are outside your reach; wishing earnestly and constantly for an explanation as to why we feel the way we do, a reason to deserve our suffering. In that sense, there’s catharsis in watching characters destroy themselves. If they’re noticed in canon, you can experience acknowledgement vicariously; if they go ignored, you can turn to fan content and fixate on the possibilities, relishing in discovery and recovery again and again, across dozens of AUs and scenarios and stories.

Fiction as an escape from and fantasy of reality isn’t a new concept; I don’t mean to suggest this is some novel observation on my part. Really, I wonder a lot if it’s silly to fixate so intensely on a little trope, and I thought I’d bring it up to you all. I thought I might offer reassurance that you are not twisted or fucked up for finding comfort in this trope. But in this whole ramble, or as a result of it, I suppose, I mostly want to say this:

Silence is not your friend. I know it feels good sometimes, to internalize or fan the flame of indignation and distress when no one notices your voiceless pleas; it gives you a reason to stay sad, and you welcome it, because sad is familiar and the thought of what’s beyond it is terrifying. Martyrdom is alluring in that sense. The idea of talking to someone, releasing your troubles when it seems that nothing will get better regardless and you’ll only end up burdening them, too, it’s overwhelming and scary and often unfathomable, but believe me - coming from a faceless rambler who has no reason to lie to you - you do not deserve to be destroyed. Your pain is not unfounded, you do not have to punish yourself or use your body as a vessel for rebellion, and you deserve to recover.

You will have to make the effort, face the fear of vulnerability (it will pass - never completely, I don’t think, but it will get easier), but I promise, you will be seen. You deserve to be seen.

…And I think that’s enough of my rambles for now. Thank you to all who’ve read this far; I appreciate your humoring me and my wandering thoughts.

Keep those lights shining strong, folks.

- Ophidia