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whisplion · 10 months

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After a full day to process the new episodes and just finished rewatching the last three episodes I have collected my overall thoughts.

Before I began I just want to say that despite my small critiques and wishes I did very much enjoy this finale.

I think my biggest issue with this new batch of episodes was the episode 19. The second hand embarrassed I felt from Jawbreaker was a lot to say the least. I enjoy his character was looking forward to seeing him get his alt mode. I like that Elita and Hashtag were also involved in this episode it makes sense as they all were involved in JB deciding to wait for his alt mode. JB’s behavior is very reminiscent of a child which makes sense but it overdone in a sense like his personality changed and I didn’t really like it that much. I’ve seen some people point out that his dinosaur design is a bit weird mostly that it doesn’t have a beak.

It basically takes away from the overall design of the dinosaur as a whole. Now as for how he got his alt mode. That felt way too brushed over like it is something they could have talked about more. Though I’m sure in s2 we we will explore it more. I thought Grimlock was great in here and I love that his nor any of the trauma anyone has experienced is brushed aside.

Episode 20 was not bad I do love the lore dumping as it’s something I highly enjoy in any franchise. Just Optimus opening his chassis and having the Matrix was *chef’s kiss*

Also that line from Dot got me so emotional.

Episode 21 was fantastic I’ve been waiting to get a proper introduction of Starscream! I’m not that familiar with g1 or any of the other installments (yet) so I don’t much about his and Megs history. I can appreciate them addressing the fact that Megs was awful and is still obviously working on doing better. Millions of years of behavior can’t just be changed in short periods of time. I think Hashtag is the perfect mold in this situation and I feel with her involved in further in trying to help Starscream and Megs to have a good long talk of some kind.

I also thought that the Dweller would may be involved in the finale guess not 😅

Episode 22 while good I think would have fit better maybe earlier in the season. The kids having tools to have fight is awesome really! I also think that Robby having a shield and Mo having a sword is very befitting especially with the opposite roles that Twitch and Thrash have as fighter and protector.

Episode 23 I was happy to see Bee back and up my bby 🥺 I have to talk about that meeting with him and Optimus! I said this to someone else but I feel like him and Optimus have a bit of strained relationship after being apart for so many years. It’s shown throughout the season how they do small talk and it is awkward sometimes. In this instance Bee is mostly just a soldier not the apprentice and young scout anymore. Maybe this will be touched upon in s2? (Hopefully)

His relationship with the terrans is so sweet I adore it and them wanting to help their teacher. Scholder being a Bumblebee fan is so funny to me but I totally understand. Also Optimus standing by Megs in these past few episodes is perfect!

Episode 24-26 were amazing to say the least I feel like it got stalled in a few spots but otherwise a rollercoaster of emotions. I honestly wasn’t expecting to see with Shockwave again but it was good. Mandroid he’s really good for a villain I’ll say though I honestly thought Croft would be the overall antagonist. Them killing her off felt so underwhelming she could have been a really great overall series baddie along with Mandroid though he’s still around.

Twitch coming into her own as a leader was beautifully done this entire season but in this last installment she really stepped up

I was so happy to see Breakdown back! Though I was hoping that arm of his we saw was actually him missing an arm. Would have made for good representation as a character with disability and angst. I do love that the Decepticons didn’t admittedly join the Terrans if makes sense. They’ve been treated like fugitives and hunted like animals.

The climax was a lot of fun with everyone calling together one more time and fighting the Autobots. Just the whole Optimus running into Bee was hilarious also OP confirmed metal head is so funny lol.

Thrash protecting Twitch was really good also and

her busted optic 🥺 I think it would have been interesting if some of them had kept some damage done to them though.

I know some feel that the ending felt underused but honestly if felt right for the first season’s ending. GHOST is over and the Decepticons stuck around to help. It feels like a new clean slate so going forward the more heavy stuff can come to the surface. As many things feel uncertain for the future but for the time being everything is come.

#transformers earthspark spoilers #tfe spoilers #tfes spoilers

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pridelessdaydreamer · 7 months

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PLOTTER / SHIPPER

taken from: nat's linoan!

tagging: flutters my lashes like a funny lil guy :eye::sparkles:

1. CONNECTIONS

write about how our muses could connect with each other! ex. what does your muse like to do that other people would be involved in? do they have interests that other people might share?

Linhardt is a Black Eagle, and one native to Fódlan. Any who decide to study the politics of the continent would easily stumble upon his house, and connections can be drawn from there (accurate or otherwise).

She is a frequenter of the library though, even if she's most often found there late at night. Aside from her chronic reading, she also likes to fish! Not competitively though. She's not that competitive.

If you can't find them in class, the library, or at the Fishing Grounds though, just wander around the monastery a bit—they're probably asleep underneath a tree somewhere. Or in their room asleep, in which case, good luck finding them.

2. PLATONIC

write about your muse and their concept of friendship. ex. how is your muse like with friends? do they make friends easily or do they find it difficult to connect with others?

Friendship for Lin is... interesting, to say the least. They'll regard you much the same as they would any other person, but perhaps with slightly less rudeness/sass (unless you're really close, then it's worse *cough cough* CASPAR *cough cough*). The chance of summoning them with the click of your heels increases by 0.5%, so that's also a neat bonus! Really, the big thing is that they'll consciously worry about you now (when they think it's necessary to worry, otherwise, you're on your own).

The thing is, once you actually manage to pin him down, so long as you aren't asking him to do work all the time, you'd be pretty alright in his book! The threshold for 'friendship' though is rather hard to pin down—one day you're acquaintances and the next you're friends. It's not really easy to draw the line.

I can't say she makes friends easily considering she... doesn't exactly try, to be quite frank (it's part of the reason the previous bullet is so nebulous). She'd be completely content being alone forever (minus that one hamster), and she doesn't really rely on others that much except to do work she'd rather not do! Actively seeking out a friend isn't really something she does. I can't say she struggles either though—there is simply no effort made at all. Alas.

3. ANTAGONISTIC

write about your muse and the conflicts they have with other people. ex: who are they on bad terms with? what kind of people do they not get along well with? how do they act around people they don’t like?

Hubert. Also Ferdinand. Edelgard to an extent. Caspar sometimes (it's a best friends thing) /j. Yeah. Yeah.

To elaborate, anybody who expects her to put in more than the minimum amount of effort gotta be joking fr! It's not that bad if it's a misunderstanding, but if you try to force it? Yikes. (Edelgard ain't that bad fr cuz she knows when to quit! Also when to appeal. She's cool ong)

Admittedly, antagonism for Linhardt is basically the same as their normal behavior, just snarkier. More witty rebuttals and sharp comments—this man can never be anything but blunt! They're already very likely to just walk away from a conversation, but if they don't like you? Ohoho!

Won't lose sleep over it though. That's a bit too much.

4. ROMANTIC

write about your muse and their relationship with romance. ex. are they searching for love or not interested in it in the slightest? what’s their dating history like? how do they act around crushes? how would they treat their partner if they were in a relationship?

Okay 'cause this is hilarious when the muse is aromantic gwahaha!

This is an aroace lil guy—completely disinterested in romance for romance's sake (because someone tell me how he tells how many different girls they're gonna have kids together in his A-supports? Also in basically every instance it's got something to do with crests and studying them. He's a bit insane).

Their dating history is completely blank. There is actually nothing to see here.

Similarly, there are no crushes for her to act different around! This one is fairly normal (<- this post was brought to you by the Aspec Gang)

As for how he'd treat his partner if he was dating—the same way he would act if they were friends? lol? Literally nothing has changed in his mind except that there might be kisses or something. (Is there a book he can read somewhere on this? Probably.)

Oh well she's probably gonna get married off for political purposes anyway. (This post was brought to you by the Noble Clique.)

#[‘practice does make perfect.’] (meta content)#[‘that was a weird dream…’] (ooc)#// hey guys #// do you remember that linhardt pre-ts cipher that totally exists????#// not the eepy one but the one i cropped for this!!!#// (i am joke jape jesting fr btw)#// man this was fun to fill out GWAHAHA!!!!#// anyways now i gotta figure out who's next :thinking:

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triviareads · 3 months

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ARC Review of The Lady He Lost by Faye Delacour

Rating: 3.5/5 Heat Level: 3/5 Publication Date: April 2nd

Premise:

Everyone is shocked when Lieutenant Eli Williams seemingly returns from the dead after being lost at sea in a shipwreck, no one more so than Jane Bishop, who was his friend and secretly loved him despite his prior engagement to her cousin.

My review:

This is Faye Delacour's debut novel; it's a friends-to-lovers romance by way of unrequited love (I wouldn't really say there's an enemies aspect, especially if the enmity is so one-sided). Jane had feelings for Eli which she thought he did not reciprocate back in the day, then he was caught in a compromising position with her cousin and they were engaged before Eli was lost at sea. I'm gonna be honest: I did not expect the level of resentment Jane showed Eli once he reappeared, but here's my thing: Eli does not owe Jane anything. All he ever did was treat her like a friend before he was caught with her cousin (regardless of what he tells Jane later in the book about his feelings for her before the shipwreck, which I did not find very convincing), and what more, the cousin ultimately married someone else and Eli obviously doesn't feel anything for the cousin anymore. I'm very careful when it comes to checking my biases regarding "unlikeable" heroines or unlikeable things heroines do, and look, unhappiness over unrequited love is natural (though I'm always a bit annoyed when heroines are insecure about their appearance and compare themselves to other women like Jane constantly does with her cousin), but I'd be equally irritated with a hero if he behaved in a similarly rude manner towards his heroine, as if she owed him something.

That being said, I did find it funny when Jane's resentment towards Eli took a turn and she actively started questioning what he was up to during the years he disappeared and was ostensibly kidnapped by pirates, purely out of spite. Does she come across as a narc? Yes, but it's also kind of hysterical when she's interrogating him in front of his navy boss or a bunch of society ladies and he's anxiously trying to communicate through his gaze for her to Shut Up. However, her words do end up having actual consequences, namely, him getting court-martialed for possible desertion.

Eli and Jane begin a no-strings attached affair by the middle of the book, however, Jane is still under the impression he could never want her long-term, and that she will always be seen as second best to her cousin (who also fans the flames with her constant need to put Jane down and her insistence that Eli still has feelings for her), which is admittedly rough to read. There is also the ladies gambling club that Jane is trying to start with a friend, but I feel that subplot was mostly set aside as Jane became entangled with Eli once more.

The sex:

There are actually two instances of the rare male masturbation scenes in historical romance in this book; the second one immediately follows dry-humping and Eli can't wait anymore before jerking off in front of Jane. The good thing is, he reciprocates very thoroughly afterwards. There is also some surprise virgin rep.

Overall:

While this book wasn't quite for me, I'd recommend it to anyone looking for a friends-to-lovers historical romance that is very much a slow-burn as far as feelings go.

Thank you to Sourcebooks Casablanca and NetGalley for the ARC in exchange for my review.

#arc #arc review #netgalley #faye delacour #sourcebooks casablanca #sourcebooks #historical romance #romance novels #book reviews #books

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funkymbtifiction · 3 years

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Hi Charity!

I wrote in earlier about sending in a “Type Me” post and you suggested I make a list of things I’m good at and ask my family or someone impartial who has known me for a while which cognitive functions they think fit me. Thank you! As it turns out, they were unanimous that my thinking function seems very definitely Aux Ti…but they also think my feeling function seems slightly more Aux Fi than Tert Fe X-D. Since I’m torn between ENFP and ENTP, my family’s analysis didn’t narrow it down much, but it did sort of highlight where I’m most confused, which is the my feeling function. Hopefully you can help shed some light on this?...

I think ENFP. I didn't see any rationalizing / Ti, but a steady stream of self-conscious awareness of morals and how you could be better at them, ethical decisions (such as not taking credit for things you didn't do yourself), a focus on relationships and how others are reacting to you / how you need to be more aware of people's needs, and a few things that "trigger" your Fi enough to get upset (while being generally permissive / easy to get along with otherwise). I'm guessing you have a strong presence of Enneagram 9 and a 3 fix.

#question #enfp

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wolfenm-marveling · 5 years

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There are three big reasons I have not and don’t want to see Endgame ....

For one, I wrote a lengthy article about that will run in June at Sequential Tart (I'll update this post with the link when it goes live *EDIT* Here it is: The Subject of Character Death, Revisited - http://www.sequentialtart.com/article.php?id=3362 ). The other two, I'll talk about here; they involve Steve and Bucky.

I know what you’re thinking: Wolfie, how can you form an opinion on a movie you haven't seen? Well, I do have mental health issues (undiagnosed and untreated because I have no insurance or job, yay), so when the film was released in China, I found someone to spoil me so that I might make an informed decision as to whether or not I could *handle* seeing it, given some worries I had (and especially since 3 hours without a bathroom break was not going to work for me or my companion). I determined from that convo that it would be a Very Bad Idea for me to see the film.

Even seeing the constant posts about it -- especially ones that called it a “beautiful” or “perfect” end, etc. -- was triggering anxiety and mental anguish / circular thoughts (admittedly in part because there were similarly “bad” things happening in other fandoms of mine -- it was too much at once). And I'm STILL having massive issues with circular thoughts about it.

This essay isn't meant to tell anyone they’re wrong about how they perceive / feel about the film, BUT, while I know I shouldn't care what other people think, the sitch still makes me feel how I feel: frankly, a bit disturbed that people are loving things that are making me so awful. I feel like I've stepped into some sort of Bizarro world -- like I'm somehow in the wrong universe. It’s very distressing. (I mean ... they call it mental *illness* for as reason, right?)

In this franchise where I once found such great joy, I now find little more than anguish. It’s actually been making me physically ill to see the posts -- or to look on my massive Marvel collection; I've had to box much of it away for now. Hopefully some day I can enjoy it again. (I can't exactly stop using my $60 Captain America backpack I begged for, for my birthday, though. :/)

I find that when my thoughts get like this (like I'm on a runaway train that keeps revisiting the same stations), the only thing that helps even a little is to sort out my thoughts on the page -- even if I’ve done it before, as I have with this in the comments section of friends posts. (You may have seen other people express similar thoughts, too.) And really, I don't want to rain on my friend’s parades, so I figure I’ll post it in my own space, and then if people ask me my thoughts, I can just point them here. And hopefully this post will help others who are similarly struggling (I know there are at least a few).

As for the old chestnut “It’s just a story/ a fictional character”, well, for one thing, let me repeat: mentally ill here. If I could control how I feel, I wouldn’t BE mentally ill. But also, I'm a writer who feels writing is a sacred calling, so when I feel a story is badly told, I tend to take it personally. Yes, I know my opinion is not the be-all, end all -- if you think it’s a good story, yay for you. Me, I feel betrayed by this story in a way I have rarely felt before (the other biggest instance having happened the week before the film's release, so double-whammy, yay).

Warning: if you read any further, I assume you either saw Endgame or don’t care about Spoilers.

(*edited to add* If you need some solace too, check out @antiendgame to find other people who are upset.)

The first upsetting points for me were the Noble Deaths (and, in Loki’s case, lack of resurrection) -- I hate that trope with the fire of a thousand suns. But that’s what I wrote the article on (including how 2012 Loki’s escape doesn't make me feel any better), so no more on that here.

Now, let me preface the rest of this by saying no, I wasn’t expecting a romantic presentation of Stucky. And as hard as I ship them fanon-wise, I don’t actually hate Steggy -- I adore Peggy in her own right (and like the idea of them being a threesome with Bucky).

What I DO hate is that Steve abandoned Bucky for her.

Aside from Steve’s moral compass, Bucky was the impetus behind pretty much *everything* Steve did in his trilogy. He found the missing soldiers because Bucky was amongst them. Bucky’s death broke him -- and finding him again in Winter Soldier seemed to give Steve, who was clearly depressed, new life. Despite Sam insisting Bucky was Gone, Steve wouldn't kill Bucky to save the world. And in Civil War, Steve fought other dear friends, and was willing to throw away his own freedom, to protect his best friend. So how the FUCK is them being *separated pretty much forevermore* a satisfactory end to that story???????

TL;DR, the Captain America movies were about the repeated separation and reunion of Steve and Bucky … and yet we barely got to SEE them together before Steve said sayonara to the man he’d been best friends with for over a for over a decade, to go be with a woman he’d known for about a year.

A woman who’d already had a family without him.

Yeah, we can say her family still exists in the original timeline -- but I have seen soooo many different explanations of how the time sitch works out, it’s not even funny.

Really, that’s the third reason I don't want to see the movie: I HATE time paradox, and this movie sounds riddled with it. Also, as I understand it, the writers and the Russos are saying different things, with the Russos saying it’s a different timeline (which apparently Steve would be going *back* to after the shield pass, for some reason, and yeah, that bothered me, that he didnl't even give his best friend that momento, and sent their last onscreen moments together talking to SAM), and the writers saying no, the alternate timelines were only a thing when the Stones were in play. So yeah, Steve could spend the rest of his life with Bucky then ... but that means he also would have erased Peggy’s family (and maybe her work). Unless he was the man she married all along.

Either way, it would mean that Steve let Bucky suffer, and let HYDRA infiltrate SHIELD, neither being things I could see him doing.

And if it IS a branched-off timeline, I LOATHE that time theory, because it means NOTHING WE DO MATTERS. There’s always a version of us that’s our worst selves, and people who suffer because of it. That’s hella depressing. (Even if it would explain why I feel like I'm in the wrong world.)

At any rate, the ONLY end I really wanted was to see Steve and Bucky get to be together, no matter how -- “just friends” would have been fine. It was literally the thing I wanted most in the whole damn MCU franchise (aside from seeing Loki be redeemed and then fight alongside the Avengers. *sigh* At least I didn't have high hopes there ...). I would rather Steve had taken Bucky back in time WITH him, even if Steve still married Peggy; time paradox issues aside, I could have lived with that -- yes, even if it meant we didn’t get The Falcon and the Winter Soldier. (And honestly, how much am I supposed to look forward to that anyway, when Sam has been such an *inexplicably* uncompassionate asshole to Bucky in WS and CW? A guy who runs meetings for people with PTSD holds a grudge against a guy who was brutally mind-raped? It's like they made him OOC for the lolz!)

As for “Oh, but Bucky knew and he was okay with it!”

Uh, if he was okay with it, it's just because the writers *wrote* him that way for their own convenience, so they could do this ending. I have been besties with someone most of our lives. We broke up a few times, but we managed to keep finding our way back to each other. We don't live in the same state, so we rarely see each other, but at least we DO sometimes, and we write each other. If this person said they were going to go live somewhere with no way to communicate with me ever again, so they could be with someone they loved, of course I wouldn't want to say don't leave, because I'd want them to be happy, and wouldn't want to stand in the way … but that doesn't mean I'd be “okay”. in the slightest. And I wouldn't WANT other people I care about to go through such pain, much less think it beautiful to watch.

Plus, as I always say, this is fiction -- I don't need *that much* “reality” in my escapism. Temporary angst is my bread-and-butter -- it’s cathartic -- but I need a happy ending to be the payoff. To me, A TRULY happy ending for Steve -- and the one that would have been the best payoff for the narrative we’ve spent a decade watching -- would have been for him to not have to choose between the two people he loved most.

Edited 5/11/19 to add: For all those who are all “Oh, they’re just friends, they aren't gay”, I am more or less fine with sexual Stucky staying fanon; they still love each other platonically, are SOULMATES, ACCORDING TO THE SCREENWRITERS THEMSELVES (Christopher Markus and Steve McFeely), who wrote this as part of the intro to the graphic novel Captain America: White - “…Of course, this is still a rollicking adventure tale, and no adventure is complete without a love story. And yes, these books have one – the longest, most tortured one in Marvel history, in fact. We’re talking about Steve and Bucky, without smirking or innuendo or raised eyebrows. Platonic though the relationship may be, from the meet cute to the tragic separation, their bond has all the elements of a classic romance. These two men love each other – as any pair of friends who faced exclusion, combat, inhumanity, and death would. Their bond stretches across half the twentieth century. The loss of it gnaws at Steve throughout the modern day, and it slices his heart in half when the Winter Soldier rears his tormented, homicidal head. Just as Jeph and Tim’s earlier Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray all dealt with the major love interests in the heroes’ lives, so too does Captain America: White. Steve and Bucky are each others’ soulmate, if you will, because no one on Earth understands what either of them has been through as well as the other does. The book deals deftly with the strengths and weaknesses that relationship engenders. As the Red Skull himself says to Bucky, “The captain has a … ‘soft spot’ for you. A spot I intend to put a bullet through this very evening.” Soldiers fight for their country. They fight for themselves. They fight for each other. And sometimes they die for these things, too. The ones who don’t carry the memory of the ones who did for the rest of their days. Steve Rogers is no different.”

So he's gonna leave his soulmate (no matter the nature of their love) behind forever? FUCK THAT NOISE. I am completely baffled ow two writers who see Steve and Bucky that way would go on to give them that ending.

And retouching the whole for Bucky “knows and is okay” thing, the Russos also said that Bucky is too damaged still to be Captain America. Uh, THAT DOESN’T SOUND LIKE THEY REALLY THINK HE’S OKAY.

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ponett · 6 years

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i haven’t posted a compilation of Super Lesbian Animal RPG related questions from my curiouscat in a while, so here’s one of those

anon asked: is there a character you didnt think would work out but did to your surprise?

believe it or not? jodie. jodie's probably changed the most out of any of the characters in the game

for the longest time she was going to be a dog, and i didn't really have a clear idea of what she'd look like. with her having much less screen time than the other party members in the early parts of the game, it also took me quite a long time to figure out how exactly she'd fit into the story, what her role would be, and how to make her an interesting character. she's still, admittedly, the hardest main character for me to write, and in my story plans her character arc is less clearly defined than melody, allison, or claire's. but i've definitely got her figured out a lot better these days

needless to say, it makes me very happy to see people love jodie so much, but it also means i've got a lot of pressure to write her well. i've gotta work extra hard to make her not feel like a minor character--she IS a fan favorite, after all

anon asked: have main the characters lived in Greenridge all their lives? or have anyone them moved there? if you can't answer this very specific question than uhh hi I like your game thanks for games

melody, beverly, and faith are from greenridge. allison moved there when she was little (like early elementary school), so she's basically lived there all her life, and known the other three for just as long. but jodie and claire only moved to greenridge as adults (jodie first, claire later)

anon asked: hey bobby i was really blown away by how funny and great the writing is, finding all the flavor text was so much fun! i was curious as to how long it takes to write, how you decide what jokes to cut, etc.

it's hard to say how long it takes to write the game because my writing process is so sporadic! i'll honestly jump all over the place based on when i have good ideas for how i want scenes to go or just what areas i feel like could use a little more dialogue like, some of the dialogue in the basement dungeon was written as early as 2015 (or 2013, if you count the original version of the game, but all of that stuff has been pretty drastically rewritten since then). the conversation holly has with you if you chose to become a resolute paladin was written sometime in 2016, while a lot of the optional dialogue with her and rhett in the paladin hq was only written a few weeks ago. a LOT of the random flavor text only exists because a funny idea randomly came to me one day i also find myself going back and revising my dialogue a lot. sometimes i'll think of a funnier joke, or just a better way to word something for the sake of characterization/flow/etc. a lot of the time i'll also write a dialogue scene to be completely linear, only to later come up with a way to insert some dialogue choices and make the scene diverge really, the most important part for me is finding the right balance between jokes and drama. the higgledy piggledy's scene, for instance, was inserted pretty much entirely to have some serious character establishment stuff with melody and allison early on, to establish what the stakes are for them and let players know that things will get real at times. so sometimes i have to tone down the humor a little to make sure players can still take the characters seriously, while other times i have to go back and add some jokes to keep a scene from being too dry writing a game is nice though because i can just hop around and add random flavor text to things without having to worry so much about story flow

anon asked: please tell me Beverly has a mid western accent

honestly? probably

CrashFu asked: I love the magic-book-store family; aside from being a shop in the full game, will any of them play any further role in the story?

thank you! they continue to pop up throughout the game but i can't really say they play a large role in the story, no. i may have a little sidequest or something with them though

anon asked: How the fuck is Lady Provence under 40

provence is just very talented and very dedicated to her job. she feels like she has a lot to prove because she's the new kid, and that's like the entire reason why she takes her job way more seriously than holly and rhett (who've been doing this for years) and why faith quickly promoted her to captain

anon asked: tbh with you bobby Allison strikes me as the person who was REALLY into roleplaying when she was younger but hid it from her friends because she was embarrassed by it.

allison was absolutely huge into shit like naruto and dragon ball as a kid, and i don't think it's hard to imagine her going from pretending to go super saiyan on the elementary school playground and doing jutsu hand signs to roleplaying that stuff online and always making her characters impossibly cool and strong

anon asked: sorry if you’ve answered this before, but how long have jodie and faith been together and how did they meet and start their relationship? if it’s spoilers no worries! i just love them!

jodie's been living in greenridge around 4 years and i'd say she's been dating faith for most of that time--so, over two years. part of the reason they met is because they were both friends with allison. i'm not sure i'd want to go into more detail than that since it is a story i'm interested in telling properly someday!

anon asked: Catherine is a bad mom she should never smoke around her easily impressionable child!!!!!

sorry you're right i should patch it so she's vaping instead

anon asked: What kind of dogs are the paladin brigade? Or is there no set type

provence is like some type of hound (anthony says basset hound but i don't think she's droopy enough), rhett's a miniature pinscher, and holly's like a sheepdog

anon asked: Will there be other towns in the full game besides Greenridge?

there are a couple spots outside of greenridge with a couple NPC's each and one (1) other actual town. i cannot, however, promise it will be as large and content-packed as greenridge is

anon asked: bobby tbh with u the fortune teller is one of my favorite npcs in the game I love him

thanks he's my boyfriend's fursona so i love him too

anon asked: what are the gang's families like? are they accepting of the party's genders/sexualities?

i couldn't really tell you about ALL their families (some of that's spoilers! other stuff i just don't have planned out), but i can tell you that allison's mom is very cool and nice beyond that i'll just say it's easy to assume that, like in real life, some of them have very supportive families, while others have had to look for that support elsewhere

anon asked: Holy shit I just noticed Claire's book in the banner art.

i was wondering how long it would take someone to notice that ;-)

#slarpg #ask #slarpg asks

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jojolightningfingers · 6 years

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The New Party Meta - Part 2

Welcome back to my attempt to dissect character relationships in Berserk! Today we’re gonna talk about the disaster that is Serpico!

Serpico-->Guts

Serpico's relationship to Guts is intrinsically one that revolves around his relationship with Farnese and as such is slightly challenging to parse. It feels at times as though there are two halves to it—the half which deals mostly with how Serpico feels about Guts and what he means for Farnese, and the half which deals more with how Serpico interacts with Guts in matters where he's suppressing his “personal feelings” and doing his best to get along with him.

The biggest and most obvious thing is that Serpico considers Guts to be a threat—to Farnese's safety, and to hers and his views of the world and their places in it—and he has told Guts this on at least one occasion. He has stated that were it his choice, they would not be traveling with Guts. In the beginning, before they're traveling with each other, he does try to hide these feelings—neutral faces and simple requests that he not antagonize Farnese overmuch, which only break in the instants that he attempts to claim Guts' life (shooting him in the back with a crossbow bolt, the one-stroke battle after Farnese is possessed, and their later battle on the cliffside spring to mind). The real heart of their relationship, as laid out by Serpico himself in his own ruminations, is both that Guts is dangerous for Farnese's well-being and changing her in ways that Serpico could not or did not think to try to (which, I think, bothers him more than he lets on) and that Guts also is changing him, making him feel things with an intensity that shocks him (“While I arrayed myself in feigned ignorance, perhaps before I knew it, I too was affected by that heat. You certainly are a man impossible to ignore.” “Truth be told I thought to kill you many times. And the violence of these emotions within me shocked me.”)

Yet, they do still get along with each other quite well on the surface, when Serpico's threats don't hang over them overmuch. Even right after the Tower of Conviction, when the Kushan attack, Serpico admits that there's nobody more reassuring to fight alongside than Guts. Serpico is willing to offer him his shoulder when he's wounded, to try and carry him to safety when he's been struck by Ganishka's lightning (and here I think it's interesting that Guts calls him out on trying to do that, accusing him of not thinking straight because there's no way he can lug Guts back to shore even with the sylph hood). He overhauls Guts' attire with ease of use in mind, which Guts shows appreciation for. He defers to Guts as the leader of the group. With the exceptions of the instances in which Guts dons the berserker armor and poses a legitimate danger to the entire group, Serpico seems to have mellowed out to Guts the more time has worn on, and I wonder if that's not because of the extent to which Farnese has changed for the better—proving perhaps to Serpico that Guts is far less of a threat to her than he thought.

As far as the facet comparisons go, I think Serpico most represents Guts' fixations—on someone who he feels he must protect at all costs, and on someone that he believes to be a danger to that person. There's also an interesting little thing going on regarding how Serpico feels about his freedom—he's stated that he feels chained down by obligations (to his mother, to his father, to Farnese), and Guts, while certainly chained down by the obligation to keep Casca safe now, once roamed the lands without aim and without purpose, and he wasn't very happy doing that. What I'm saying is that what Serpico thinks he may want, as far as this freedom goes, may not be what he actually wants in the end.

Serpico-->Farnese

If I'm being totally honest, the first time I read Berserk I thought theirs was a nigh impossible to sort out trainwreck, and I do still kind of think that now.

There are two big things to keep in mind when trying to figure Serpico's side of the relationship out. The first is that Farnese is the most important thing in Serpico's world, without question. Serpico will, and does, prioritize Farnese's safety over the safety of everybody else in the group even after he warms to them. The second is that he considers Farnese his other half, considers them to be if not exactly the same, then similar enough as makes no difference—save for expressions in emotion of course.

Serpico was introduced to Farnese as Farnese's servant, and up to a certain point, this is how Serpico acts to her. He goes where she goes without question or complaint, but he is not always direct about it. He appears to refuse Farnese's order to kill Guts because they're only supposed to capture him, but he makes an attempt to do just that as soon as she's run away. He doesn't explicitly protest her decision to leave the Holy See and go chasing after Guts, but he does pick and choose his moments to try and get her to go back. The only reason that Serpico appears to stop acting like a servant to her is because Farnese stops acting as his master.

Serpico knows Farnese—he knows her moods, her expressions, and what each of them mean, again because he was raised with her, but he only is certain of them until she begins to change. And then, frankly, he's at a loss. He does not “know this defenseless side of her”, as he tells Guts. He resists these changes in his own way—trying to get her to return to the Holy See in an oblique manner, trying multiple times to kill Guts, who he perceives as the root cause of all these changes. And then, eventually, he stops, because Farnese is growing for the better and he can tell that it's for the better despite how he personally feels about it. So he lets it happen, neutrally accepting at first (“[...]the wind has blown. A wind strong enough to blow down everything you yearned for. And so I shall at least see to it that my other half isn't torn to pieces in the storm.”) and, gradually, with pride and happiness at her accomplishments.

And then, of course, there's the romance that never was. It's my read on it that Serpico does harbor at least some romantic feeling for her—otherwise he wouldn't call Farnese's mother 'astute' after her comment (“Such companions cannot be separated, because they cannot stand without entwining against each other, just like a pair of trees... my, the scent of the forbidden.”). This is of course to say nothing of his initial reaction to her entreating him to run away with her after her father intends to marry her off, though that's admittedly ambiguous at best and may or may not be influenced by him knowing that he's related to her while she does not.

There's also the slight side-issue of what kind of negative feelings he may harbor towards her because, for all that he's devoted to her, he does imply she's something that he's chained to, and Serpico again has weird issues with the idea of being free. When she asks him outright if he hates her his answer isn't an answer (“To talk of hate...”) and the subject is immediately dropped, never to be brought up again. Worthy of consideration, maybe, but as far as present canon goes it may well be a moot point, as they both seem much happier with themselves and each other.

Oh yeah and there's also that he completely, 100% loses his cool when Farnese says she wants to become a witch, and it notably takes him a while to wrap his head around that idea and accept it. Not sure what the significance of that is but it was pretty funny.

Serpico-->Schierke

Serpico and Schierke don't interact directly very often, but she does give him items blessed by wind elementals and oddly enough, they appear to be the means by which he begins self-reflecting in earnest. He thinks the wind is the thing most alien to him, being free to do whatever it wishes without consequence—so then, what does it say that he masters that power so quickly, as Schierke notes?

The other interesting thing is his general attitude towards magic. Delighted, I think, isn't the right word, but he seems much more smiley when in magical places, surrounded by magical things. The aforementioned sylph hood and sword are things he considers heartening to have in battle against monsters and they end up rather attached to him—he's impressed with their power, and with Schierke's power. He urges Schierke to have pride in herself when she feels down about her inexperience, calling her skills miraculous. He defers to her on matters that he's less experienced in, with a view that isn't colored by differences in age or gender.

Serpico-->Isidro

Serpico and Isidro aren't very close to each other—if Isidro's view of Serpico is hard to pin down and theoretical at best, Serpico's view of Isidro is even harder. He does have opinions of him though—opinions that giving him a dagger that spits fire is probably not the safest idea (though he does note that at least it's better than Farnese getting it), and that Isidro's skill in improvisation is surprisingly good (noted mostly by how Serpico sits up and takes notice when Isidro starts dual-wielding against Guts in practice, managing to make some headway but ultimately coming up short).

Aside from this the bulk of their interaction is kind of the hotheaded eager to prove younger brother and the cool aloof older brother who checks some of his more reckless impulses, though Serpico doesn't seem to go out of his way to do it. Serpico holds him back, physically if need be, when he's about to do something rash, he's constantly telling Isidro to mind himself in battle, and he's willing to explain himself to Isidro if Isidro doesn't understand something (at the end of his second fight with Guts, for instance).

I think the problem here is that we don't see a lot of the interactions they do have, but are implied—they do after all go out into Vritannis alone together to search for a ship, and at some point Isidro must have told Serpico something about his past, because Serpico's the only one who brings up that Isidro grew up in the mountains.

#berserk #serpico #meta posts #bizarre adventures #i might do a meta on serpico as a complete character later because holy Fuck #theres a lot to unpack here

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feisty-mary · 7 years

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Reasons Why Marrying William Sloan Is the Best Decision of Your Life (Part 2)

Wow, Part 1 made me realize that there are more people who romanced Mr. Sloan than I originally thought! I just have to say, congratulations on your good taste in men. ;)

To those who have expressed interest in replaying the books to choose this sexy businessman, DO IT! YOU WON’T REGRET IT. Mr. Sloan is a total sweetheart who will sweep you off your feet and raise your expectations of partners so high it’s practically a crime.

Notes.

- From this point on I’ll refer to the businessman as Mr. Sloan, as he is more familiarly known.

- Read Part 1 before proceeding with this part. They both cover the first book, and most points are interconnected.

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4. Book 1, Chapter 3. During their date in Venice, Mr. Sloan takes MC to Ristorante Oliviero for the best Italian food in the city. Without asking MC, he orders for her.

MC readily calls him out on it. “excuse u?? I can speak for myself and vote and own land and open a checking account? why are you bossing me around like I wanna choke on your dick??? oh wait”

Mr. Sloan is unfazed, although he tells MC to trust him in this particular instance. We let it go begrudgingly, although to be fair, the food he orders turns out to be amazing.

You have to admit, this kind of behavior on your first date raises a lot of red flags. Who wants to be in a relationship with a guy who decides for you without your permission?

To make sense of this, we fast forward to Book 1, Chapter 11, where something similar happens. Here Mr. Sloan returns to the cruise ship for his second date with MC. Honestly at this point I’m not even complaining because he flies back to her as soon as he can just to take her to Paris for a date??

Admittedly, he surprises her under the assumption that MC will readily agree/has nothing planned for the rest of the day herself. (Although, to be fair, surprises do have a way of ruining your own plans. That’s kind of the point!)

Here we’re given the option to tell him that he can’t expect us to leave for the Paris trip at a moment’s notice. A good option, too, since we’re trying to be as lowkey thirsty as possible we get to remind him that respect for each other’s time is kind of a thing. Besides, if you’re going to start a relationship with someone you might as well establish a list of acceptable and unacceptable bullshit between the two of you early on, right?

When MC calls him out, his reaction is surprising; he looks positively contrite. The panels above show him acknowledging his mistake, his tone completely different from when we first call him out in Book 1, Chapter 3. What’s more, he inadvertently reveals that he’s been listening to MC, after all, particularly about that advice to “let loose”. We don’t see him dance until Book 1, Chapter 18 (refer to reason 3 in Part 1), but it is clear even at this point how he’s making an attempt to match MC’s adventurousness and spend more time with her.

Just to put that in perspective, it’s useful to remember that he’s a CEO. In that particular line of work there is very little room for anything messes with plans, blueprints, and established timelines. That he is willing to make time for MC despite his busy schedule (because those meetings were probably scheduled months in advance and rescheduling them would be hell) says something about how much he must really consider being with her as his priority.

What I really want to underscore is how these separate chapters show us Mr. Sloan’s learning curve when it comes to romancing MC - and it’s clear he learns pretty darn fast. I had misgivings about his reaction to us calling him out on his take-charge attitude in Book 1, Chapter 3 but I like how it seems to have been deliberately written that way so we can see how he learns from it several chapters later.

He gets even better at it by the time we reach Book 2, Chapter 16, the night when he proposes to MC for the second time. He surprises her when he shows up at Nomade, and what do you know, this time he directly asks if she has plans for the evening before inviting her to Casablanca.

Did you see that? Yes, that’s character development.

5. Because Mr. Sloan is simply the best kind of life partner anyone can possibly ask for. Book 1 Chapter 18 reveals a lot about what we can expect from him as MC’s husband. As I’ve pointed out in reason 1 of Part 1, one of the things I really like about him is his foresight and how it always comes into play even in his relationship with MC, consistent with his work as an investor. He’s always thinking long term.

One of the ways the conversation with Mr. Sloan in this chapter is so distinctively him is that he doesn’t talk much about feelings anymore. That’s not to say he doesn’t reiterate them, because he does, at least in the beginning. But they don’t take up most of the things that’s said between him and MC.

What do they talk about, though? Well, they talk about important questions in relationships, like where they will live in the future and what MC thinks of having kids (in fact, this surprises MC herself, as shown in the panels below). Perhaps not everyone will agree with me on this, but the way I see it is that this man is already absolutely certain of what he feels for MC. As far as he’s concerned, the dating phase is done, which is why he’s already set that aside and moved on to the next one: planning their future together. Whatever MC’s misgivings might be, it’s clear at this point that Mr. Sloan has given their relationship some pretty serious consideration.

It’s also worth noting that when MC asks him what he thinks their future will look like, he tells her that she can tell him what she wants and he will just make them come true.

In Book 2, Chapter 8, he even goes as far as asking her, “hypothetically speaking”, where his next vacation house should be located.

Going back to reason 4 above makes it easier to see how Mr. Sloan’s character develops - he changes from someone who will make MC’s dietary choices for her to someone who looks at her as a partner with whom he can plan a future life together. It’s these small things, these subtle changes in his words and actions that tell us he’s been paying attention and learning from his interaction with MC. That perhaps their time together has actually changed him, and as cliche as it sounds, maybe even changed him for the better.

6. Mr. Sloan owns a winery. That’s literally it; who the hell turns down someone who owns a goddamn winery? Oh, and by the way? He names a bottle of wine after MC.

7. Because he knows his priorities, and it’s MC above anything else. In Book 2, Chapter 9, Rashad, Mr. Sloan’s very own best friend, warns MC that there’s a very big price to pay in being in a relationship with a CEO.

As hostile as Rashad delivers his warning, he makes a very valid point. Book 2, Chapter 9 perfectly underscores this when MC asks Mr. Sloan to go back to bed with her but he sadly turns her down, telling her he has to prepare for another business trip.

Before the chapter draws to a close, MC considers this silently, wondering if Rashad is right for warning her after all.

Surprisingly enough, in Book 2, Chapter 17, we see Mr. Sloan bite the bullet and very openly discuss Rashad’s thoughts on his relationship with MC.

I admit I did not see this coming; I thought it would be one of the things they’d conveniently overlook to give some sort of disadvantage to a potential relationship with Mr. Sloan. I mean, at least give the other suitors a fighting chance, Mr. Sloan?? lmao~

True to his nature as a businessman who most likely considers all angles of a particular negotiation before proceeding, Mr. Sloan talks to MC about his work-life balance and asks her what she thinks of it.

We try to be subtle about it, but suddenly Mr. Sloan says these magic words: “Consider it gone.”

Even MC does a double-take. Because… well, he can’t do that! He can’t just set aside his businesses for MC! Excuse me?? That’s like… totally sweet and romantic I cannot believe?????

I swear I didn’t cry. Maybe.

8. Because his proposals are so on point! Mr. Sloan proposed twice to my MC Alyanna because I’ve been loyal to him since the first book hahaha. Let me just spend some time on these proposals because they’re both beautiful and so well-thought-out.

Book 1, Chapter 19. First proposal.

I didn’t realize this until I was almost done with this list, but all the points I’ve listed up until now are mentioned and/or alluded to in his marriage proposal. I don’t want to gloat (who am I kidding, I totally do), but I can say with 100% confidence that our businessman’s first marriage proposal is the best of them all.

For example, he gather’s MC’s family members to witness the whole thing. One of the key themes in Rules of Engagement is family, and the first book does a good job at letting us see the strong bond between the four siblings. This being said, I thought it was very smart and thoughtful of Mr. Sloan to call them to witness what is arguably one of the most significant moments in MC’s life. It appears he knows what’s important to MC and he considers them important to him, too.

He also talks about how being with her has changed him, particularly about him dancing, as I’ve discussed in Part 1. In the left panel below, he mentions how MC makes him laugh, but also that she calls him out, unlike other people who appear to be intimidated by “Mr. Sloan from magazines”. I found this to be a nice touch; it gives the feeling that we’ve gone full circle and the time spent with him really helped build up their relationship.

The (intended?) symbolism is a nice, touch, too - Mr. Sloan proposes in the same place where he first met MC. If we go back to Book 1, Chapter 2, his very own words on the night they meet is “I’m not proposing that we get engaged. I just want to take you out for a romantic night. No strings attached.” Funny how he comes to propose many chapters later, at the very same restaurant and to the very same woman whom he once said those words to.

This is equal parts adorable and amusing.

In the left panel above, Mr. Sloan recalls the unfortunate (but absolutely hilarious) mix-up during his date with MC in Paris. It’s funny because you can tell he’s been thinking about that little mishap since it happened, and yes, his thoughts all along must have been, “Holy shit that was very embarrassing I swear I will never do that in my life.”

And yet here he is, several weeks (?) later, proposing in front of MC’s family and friends and possibly other people from the cruise. And you know what? He does it anyway. He braves his embarrassment and his discomfort anyway, because he’s decided that it’s okay, because it makes him the happiest, too.

It’s also interesting how he says, “Now, I’d like to put myself out here on a limb for once.” If we want to be very technical about it, “putting someone out on a limb” means “being in a dangerous position” or “doing something risky”. Well, okay, you say. Proposing is inherently risky, isn’t it, because there’s always a chance you’ll get turned down? Mr. Sloan is just acknowledging that fact.

Except, you have to remember he’s a businessman. Taking risks is literally what he does for a living. And if his wealth is any indication, he’s a very successful risk-taker. I actually interpret this as a very subtle way of him telling us how compared to closing business deals, he considers proposing to MC as probably one of the riskiest things he has ever done in his life hahaha.

Book 2, Chapter 17. Second proposal.

I was kidding; of course both of Mr. Sloan’s proposals to MC are better than the others! ;) If anything, his proposal in the Sahara is even better than his first one, because not only does he mention the moments they share together, he also mentions the times they don’t - and how even those form part of the reasons why he wants to spend the rest of his life with MC.

The four panels above show just how much MC has changed him, and I adore it.

But, of course, just to be fair to Mr. Sloan, we tell him this isn’t necessary. My MC isn’t here to impose anything on him, so she tells him he doesn’t have to change for her. He gives what is arguably the best response, as shown in the panels below.

Thank you, Mr. Sloan, for wanting to be that person who will dance with me in my lame black dress in a piazza in Venice. *wipes tears*

The rest of his proposal is absolutely magic, just like how he sees MC in his life.

I told myself I would let the panels above speak for themselves but ohmygod can we just acknowledge how much punch they pack because you can definitely tell that Mr. Sloan is speaking from the heart. This is exactly their love story. It’s a simple tale of two people finding someone whom they can dance in a piazza with, whom they constantly think about even when they’re far apart, and whom they’ll willingly make sacrifices for, because they put them as priority above all others.

It’s not all that complicated, but then again whoever said the best love stories need to be? ;)

BONUS!

9. This isn’t exactly a reason but I just wanted to add that Mr. Sloan planned the second proposal for weeks! Planning is his thing, okay, he’s good at that and he has plenty of money to show for it lmao. Here’s his hella cute reaction when we point this out (MC: “You’ve been planning this for weeks?”).

Dear @ god just please let me marry him already??

Also hey isn’t it funny that Mr. Sloan proposed to us in the Sahara? ahahahaha was our thirst that obvious?????

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Okay, that’s it, folks! This took a while but I hope you enjoyed this because I did! Thanks for reading and please don’t hesitate to shoot me a holler if you wanna squeal about Mr. Sloan! ;)

#william x mc #rules of engagement #william sloan #playchoices #choices stories you play #reasons why marrying william sloan is the best decision of your life #i'm so fucking tired goddammit william i swear if i didn't love you as much as i do #i probably missed some points but what part of mr. sloan is perfect do you not understand #fucking finally i can focus on school because this is done ahahaha #leaving something unfinished stresses me out #seriously tho i can't wait to marry william sloan let me live pb!!#I have feelings

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lethesomething · 7 years

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Todoroki vs Bakugou and Midoriya

Not a shipping post.

Let's talk about Todoroki and the way he relates to people. Specifically, to Midoriya and Bakugou. I think it's safe to say that the three of them are, at this point in the story, the Main Three. They're arguably the strongest boy in class 1-A. They're also, as I mentioned briefly before foils for each other. So how do they relate?

Where Midoriya strikes up an easy friendship with Iida and Ururaka from the start, and Bakugou seems to become bro's with Kirishima fairly early on, Todoroki is… slow to warm up to people. The kid has spent his childhood isolated, so that's easy to understand. If you want to go symbolic, you could also say that his fire side, and how he uses it, quite literally makes him warm up to people. Getting to grips with that side of himself is a major part of his character development, and as he becomes more attuned to his own personality, it makes sense that he'd become more comfortable with other people as well.

Sports Festival

Let's start at de sports festival, because we get some very nice development for all three of them.

Todoroki vs Midoriya

Todoroki singles Midoriya out fairly early on, when he does that whole 'declaration of war' thing. At this point, I don't think he does this purely based on merit? The kid he's 'going to beat' barely made it into UA, he's nowhere near the top of the class but Todoroki can recognize a quality seedling when he sees one. He watched Midoriya's fight with Bakugou in the Heroes & Villains exercise, he watched Midoriya jump in during the villain invasion. And what he recognized there was that out of all of his classmates, Midoriya is the one most like All Might. He even says this, at some point.

And while it's played off as a joke, with him assuming he's All Might's illegitimate son, he's not… that far off, really? Either way, it's this link that draws him to Midoriya. Todoroki, you see, is an All Might fanboy. (they literally all are) He may have been 'created' as an Endeavour 2.0, to BEAT All Might, but in those moments with his mom, what he truly wanted was to be LIKE All Might. He wants to be that kind of hero. All Might himself mentions that the both of them had the same sort of vibe. Among his peers, Midoriya is the closest to All Might 2.0, in type of power, in general disposition and in the sense that they're literally pretty close. It makes sense that Todoroki would see him as 'the one to beat'.

(why is everything so long)

Incidentally, this insight also makes Todoroki more likely to actually listen to Midoriya. At this point, the kid is very dismissive of others. It could be Kirishima telling him not to start fights, Bakugou coming to yell at him or even villains trying to murder All Might.

Todoroki kind of just swipes them aside as a 'nuisance'. However, when Midoriya talks, he listens.

Maybe it's the All Might thing, maybe it's because the kid has a power that Todoroki is instinctively afraid of. Or maybe, it's because he knows that Midoriya is completely insane. This is a student who is willing to injure himself to negate attacks. He's willing to literally break his body to save people or win at things. He will literally do anything to come out on top. To Todoroki this must look even weirder than to us, viewers. Self-discipline, control, stoicism is his whole deal. He acts logically, and Midoriya is like the opposite of that, in a fight. When the kid that just broke all his fingers starts yelling at him, he will damn well pay attention. And when Midoriya, in his duel with Todoroki, says 'Where are you looking', he wants Todoroki to stop thinking of his dad and actually keep his head in the fight.

It works, too. For once, Todoroki goes full out, and he later admits to his father that the reason he did so, was because he completely forgot about him. He let his instinct take over. Like he did in the cavalry battle. He's so impressed with Midoriya's innate strength that he can't help but go all out.

Todoroki vs Bakugou

If Midoriya is the classmate most resembling All Might, then in Todoroki's eyes Bakugou must be the one most resembling Endeavour. Certainly during the sports festival. He's brash. He's so very full of himself, even his destructive power is similar to Endeavour's flames. At this point Bakugou is also way more about being 'number one' and winning than about saving people. As such, Todoroki has a very different rivalry with Bakugou than he has with Midoriya. Bakugou isn't 'special' in the eyes of Todoroki.Not like Midoriya is.

Look at that kid. Todoroki just told Midoriya he wanted to beat him. He told Midoriya, not Bakugou, first place student in the entry exam, that he sees him as his main rival. And that Pisses Bakugou Off. Because in Bakugou's world, he's the best. Certainly at this point in the story. And Todoroki just.…refuses to acknowledge him. You see this again and again.

The kid, admittedly, has an awful lot to deal with at this point. He's very much trying to find himself, preferably in the ten minutes before the next fight. So he's back to dismissing anyone. Including Bakugou. Fun fact: it's really hard to dismiss of Bakugou.

When Bakugou says 'Where are you looking', he wants the kid to pay attention to him. But of course, that just reminds Todoroki of Deku, and that is incidentally the worst thing you could say to Bakugou.

I think it's safe to say that these two just really don't click. Bakugou is a blip on Todoroki's radar, and that really, really frustrates him, because all he wants is to beat Todoroki in a fair fight. The way Midoriya received a fair fight.

It's interesting to note that even in this fight, Todoroki only uses his flame side when Midoriya yells at him from the stands. Midoriya is literally the fan to his flame. But this time it doesn't work.

So what made him extinguish those flames near the end? It could be a lot of things. Todoroki is still in turmoil. He told his father he needed to think about things, and he hasn't exactly had a lot of time to process in between the two fights. It would be highly unrealistic if one shouting session miraculously healed all Todoroki's ingrained trauma. You see him get a little flashback to his mom and dad right before his flames go out, which very much indicates that he's just really struggling. There's also the very nature of Bakugou. When he fights him, all Todoroki sees is flames and smoke. All he hears is boasting. It feels very different. The link to his father is much stronger. Though both Bakugou and Midoriya want the same thing, to fight him at full power, Todoroki can only feel the need to do so when fighting Midoriya.

It's not really Bakugou's fault, but it just servers to frustrate him more.

Delving into manga territory now

Todoroki vs Midoriya, round 2

So how does it evolve from here on out? The training camp arc is one of those first times we see Todoroki in his newer, softer form, though change is still slow.

Lookit my child creating fire to cook for his friends.

This is also about the time Midoriya and Todoroki seem to have reached some kind of understanding. He even gives him some of the most symbolic advise I've read in this series.

Considering their background, this is really beautiful. Todoroki is telling him how to deal with Kouta, but it harkens back to their fight, and also to Todoroki's past. If anyone can understand how Kouta feels, it's Todoroki, after all. Endeavour may have told him what to do and how to behave all his life, that didn't make him want to do it. He simply didn't believe it, because Endeavour didn't really act like a hero (or even a decent human being) to his family. All Might is Todoroki's only real idol. He's the reason he wants to be a hero, because he's always saving people. In a way, he’s telling Midoriya that the only reason he understood him during their duel, was because Midoriya was willing to get brutally murdered (ok almost) in order to save him.

But I digress. Basically, over the course of the next few arcs, Todoroki sort of softens towards several of his classmates, including Midoriya. It's pretty funny that once he stops isolating himself and actually notices the people around him, he's a pretty sensitive guy. He is the first to notice that Midoriya's affected by the stuff happening in his internship, for instance.

He's also the one to offer comfort here.

Todoroki vs Bakugou, round 2

His relationship with Bakugou, meanwhile, hasn't changed much, given the kid's reaction to drawing him as a partner in the test of courage.

Also please note how awesome Todoroki's 'are you kidding me' face is in this panel.

I actually really like these two in this arc, because what they do half the time is squabble and it's funny.

I would almost call it a friendly rivalry? Sort of thing? It's obvious they don't particularly like each other personally. But they also don't hate each other. Not really. They may have gained a certain level of respect for each other, even. They're perfectly capable of working together, if need be.

A scene like that, where they work together to take down Tokoyami’s berserk shadow, requires a level of understanding and communication that I don't see happening between Midoriya and Bakugou, for instance. Not any time soon, at least. We also learn in the provisional license exam that if Todoroki really hates a guy, he has trouble cooperating with him. We see none of that here. They are willing to acknowledge each other. Todoroki cares enough to be one of the first to decide on rescuing Bakugou. This doesn't mean they stop squabbling though.

All this time together for the provisional license course, and the only one that has grown a little is Todoroki. Please note the use of 'we' here. But his banter with Bakugou isn’t that different from his talks with others in his class. He's slowly opening up to his classmates and, true, Bakugou is one of them. He's not dismissing him anymore. In a way, Bakugou is just one of his classmates now, just like all the others. Which probably just pisses him off, tbh.

PS: I have a bunch of these.

#todoroki shouto #bakugou katsuki #midoriya izuku #bnha #boku no hero academia #it says a lot about bnha #that i can't just do #a todoroki profile #without making it a full novel #so i've resorted to smaller thingies #mini meta?#there's nothing mini about this #lethey writes #character theory

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thesymphonyoflife · 5 years

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2018 Favorite Movies

It’s been a while since I’ve made one of these lists. This year was filled with great foreign films and documentaries, as (spoiler alert) you will see many of below. As always, I have not seen every movie of the year, but I think I have gotten better over the years at understanding what kinds of movies I would find interesting, and what directors I will always look out for, so in that regard, I think I have been as exhaustive as I can to make this list.

Honorable Mentions:

The Ballad of Buster Scruggs: I’ll watch anything the Coen’s do, and if history suggests anything, I’ll probably like it. This is one of the most unique formats I’ve seen a Coen film (anthology), but I’m glad I got to see their take on this film format, because I do enjoy films like this (Paris, Je’Taime, and Wild Tales are two of my favorites). This film did a good job of keeping with the overall western theme they were going for, even if some of the stories were more engaging than others. The timings were a little uneven as well, as some stories were (and felt) longer than others, which kind of threw off the pacing and rhythm of the film. If I know the Coen’s though, they might not be done exploring the genre of the Old Western.

Green Book: One of the more “meh” best picture winners of the past several years, maybe since The Artist. Viggo Mortenson did a great job and the chemistry between him and Mahershala Ali felt authentic, but I wish there wasn’t so much cheese spread across the film. I wish I could have a caution sign that pops up in front of a director’s eyes before they shoot a scene, reading: “Does this scene require this much drama (cheese) to effectively move the plot or build upon the character(s) in an appropriate manner? If it is not a resounding YES, please RECONSIDER altering the scene to be more authentic!!” I’m rambling and may be piling on this movie for the shortcomings of a lot of Oscar “bait,” but I (and many others) see it every year and every instance of it gets more and more frustrating.

They Shall Not Grow Old: War documentaries are nothing new, but I was thoroughly impressed by this take on the documentary format by Peter Jackson. I highly recommend sticking around to the very end of the film (after the credits) to see a mini-documentary on how they made the film and their thinking behind the structure, layout, and overall design of the film. The amount of work they put into the project is even more apparent after seeing that, and it just underscores the grand scale a world war was.

Minding The Gap: This documentary does a great job of utilizing time to its advantage. I’m not talking about run time or pace, but rather telling a fluid story about several people over a period of several years. It felt very natural and allowed you to take a journey with these people and understand their story even more. It’s a documentary that is easy to empathize with, not just for the struggles the characters deal with but more so the journey the film takes us through, and how we can relate to the themes of childhood, family, community, friends, dreams, escapes, our future, mortality, and many other heady themes.

Cold War: There’s a lot to unravel when watching this movie, from the shot compositions, to the juxtaposition of the music, to the journey of the relationship between Wiktor and Zula. I love the way music is used as a storytelling device, and the beauty of the minimalist style of music plays perfectly with the beautiful cinematography (black and white never looked so colorful). A lot was done well, but the pacing and the ending kept it from being an even better film.

10. Burning

I admit I needed to be aided in terms of figuring out what all happened in this film exactly. But once I started delving into what other people had to say about the film, I think that’s exactly what was supposed to happen. I love how even as slow prodding of a film this is, it still manages to simultaneously leave time for you to think and not at the same time. For as many times as I felt like I was going to fall asleep, I still feel like the pacing of this film was done as best as it could have been. This is a film where ambiguity is the end goal, and that’s perfectly ok, especially with how the film is laid out and shot.

9. Eighth Grade

The passage of time is never kind to us. Even with the most positive outlook on life, and a happy childhood or upbringing, there is just something about reflecting on a period of time in your life (i.e. nostalgia) that brings about an inherent sadness. Not because the memories may be sad or because you wish you could go back to that time in your life, but because there is this huge amount of pressure we give ourselves when assessing our impact through the lens of time. A time capsule is the perfect representation of this concept. I have done this many times now (it is ever so easy to do now in the age of the internet. Hey, even this blog is basically a time capsule!) and each time it makes me feel like I have not grown or accomplished as much as I (maybe unfairly) should have in that time period, however long that may have been. I think it is just incredibly difficult to gauge how much we will actually change or “accomplish” in a given amount of time, or at a specific age. There is this pressure that comes naturally with time that hits everyone, whether or not it is fair or not. It is that constant reminder of the competitiveness in the world, and the brutality of time that may be wasted, which is one of the scariest and worst feelings anyone can have.

Rambling aside, I thought this film did an excellent job of encapsulating this thought in the eyes of the main character. It felt odd being so disconnected but also connected at the same time with the tribulations of the main character, as the setting and environment was so different from my childhood, but the fundamental change we all go through during that time period was very much the same. It’s tough to capture a specific time frame in our lives (especially in our formative years), just because nothing is ever static during our lives, we are in constant dynamic shifts. But this film was brutally funny and sad at times, which, if anything, encapsulates so much of what life at that time (and all others too) is all about.

Oh and I thought the music was outstanding (content and timing).

8. Roma

Professional filmmaking. That is one thought I had after coming out of this movie. As much as the story felt heartfelt and authentic (because it was), the film really showcased a director (Alfonso Cuaron) who knows his style, how to compose shots, and how to invoke authentic emotions. I go back and forth debating whether I think going with black and white was truly needed, but one thing is for certain in that it helps give the film a “timeless” feel to it. One that I know he thought about when making it, in that I believe he did not want to simply capture a snippet in time, but rather focus on the story and characters at hand, one which generations to come would relate to in their own way.

7. Shoplifters

This was another foreign film that had a timeless feel to it. It’s always nice to watch foreign films, for a multitude of reasons, but in particular to be immersed in another culture for a brief period of time. That is certainly the case in this film, as the production design and sets do an outstanding job of putting you right into this world and help establish the atmosphere which helps understand the characters motivations and story a little more. The film had a unique plot and great acting, and the pacing felt very natural and thought out.

6. If Beale Street Could Talk

I love the way dialogue is shown in this film. The composition of the shots, the intensity of the delivery, everything is heightened when there is dialogue in this film. And it is imperative that this be the case, as this is what drives the fairly simplistic plot along. This is certainly a film that shows more than it says, but Barry Jenkins does that extremely well in this case as he does a good job of portraying the themes in subtle ways that give the audience just the right amount of room to interpret themselves. It is always a difficult balancing act, in dialogue heavy films, to spell things out too much or show too little leaving audiences lost. Another aspect this film does well is the music. The score is imperative in setting the mood in atmospheric, melancholic movies such as this one, and Nicholas Britell does a fantastic job creating a nuanced, rich, and evocative score, and implementing at opportune moments throughout the film. There are some directors that just “click” when watching their films. Barry Jenkins is starting to become one of them.

5. The Favourite

One of the best part of watching movies (or art in general) is when you see something truly unique that it changes your perspective on what you like or how it can be portrayed. For Yorgos Lanthimos, his films have changed my perspective on comedy and how I feel it can be portrayed. His films have the shell of a distinguished drama, but the core of a slapstick comedy. I never knew comedy could be so funny and portrayed so differently than how he does it, in particular here in The Favourite. The acting, writing, and plot all work seamlessly together to create genuinely hilarious moments all while advancing the story, developing strong characters, and establishing strong themes that lead to a wonderfully crafted ending, wrapping up the film in a beautiful way. I can’t say enough good things about this film, and am in awe at how someone can craft a style and execute it so brilliantly in such a short amount of time (just 3 films to date). He’s certainly made the list of “directors I will see films they release no matter what unless they make 3 bad movies in a row.”

4. Spider Man: Into The Spider Verse

I have admittedly been far behind on my superhero movies, but I got a recommendation to see this one and I am extremely glad I did. I hope, when we look back at this decade of films, this one is the example of how much animation has grown over the years. The colors, the creativity, and even the technicality of it are all showcased in this film, but what makes this film so great is that it does not rest on just this alone. The characters, even with the high amount of them, are all relatable in some way, contribute to the story in their own unique way, and help establish this film as one different than any other superhero movie. The film does an excellent job of crafting a story truly fit for anyone, and it is a great film to discuss with others because they will certainly have a different way to relate to the story/characters. So that is a not so subtle suggestion to not only watch this film but tell others about it and talk about it with them!

3. Isle Of Dogs

This list is just starting to sound like an expose on my favorite directors, but it is hard not to talk about the director for this film, because it is so inherently Wes Anderson-ian. I find it incredible that he can utilize his techniques and creativity in similar ways for such nuanced and unique stories. Characters are always at the root of his stories, and there are no shortage of good ones here. He has an uncanny ability to write and craft characters around the voice actors as well, as it is so seamless in the way the voice acting portrays the characters in this film. His writing style never ceases to garner guffaws throughout the film, and I am always impressed with the amounts of twists and turns the story takes. It is a craft he has certainly mastered and one that makes it easy to just sit back and enjoy everything that unfolds before your eyes. The film does a great job of being topical as well, with underlying satire that is tastefully done and never over the top. Wes Anderson’s movies are always so dense that it’s so easy to watch over and over again and find new things to fall in love with. It’s one of the reasons why he’s one of my favorite directors and also on the list that I mentioned above, although I’m starting to think it’s pretty unlikely he’ll make a movie I dislike.

2. Free Solo

After the initial shock you have when trying to comprehend the magnitude of the athletic feat Alex Honnold is trying to accomplish, you start to shift your attention to the filmmaking. And that is almost (ok, not really) as impressive. The shots need to do the scale justice, and I think they did an excellent job of not only crafting a well shot film but also immerse you in this world many of us cannot even comprehend. I think they also do a good job of outlining this as much of a character study than anything, because it really is imperative to showcase the reasoning behind his actions, just for us mere mortals to understand a little better. And it turns out, in my eyes, he is just a supremely motivated individual seeking perfection and solitude. And as a result it is easy to come out of the movie exhilarated, energized, and motivated to accomplish any goals you may have. It’s a mark only a true story could do. Even if everything he does is so hard to believe.

1. Won’t You Be My Neighbor?

“If you want to truly do a bio-pic justice, just make a documentary.”

I made that statement after watching Bohemian Rhapsody, but the juxtaposition between that film and this one even more so justifies that statement. I won’t get into my thoughts on Bohemian Rhapsody, but I will just say that the documentary medium is really the only way to do Fred Rogers’ story justice, just so that you can show audiences, in this day and age, someone like that really did exist.

I will preface by saying I did not watch Mr. Rogers very often as a kid growing up. I knew when it was on, but I was more into Arthur and Wishbone on PBS. I also think the timing was everything, as there was a limited window to watch TV (cough I mean do homework) after school before my parents came home. And that’s ok, for his story does not need to be fully appreciated by watching him as a kid. Sure, I would love to go back to my childhood and sit down and watch him through the eyes of my inquisitive, imaginative young self, but I think no matter how or when you digest his story or listen to his words, you will wholeheartedly appreciate who he was and what he stood for.

I really started to take a deeper dive on him in high school, when he had just passed away and there were news stories on him. I watched some youtube videos and gained an appreciation for what he did, but it was only when I was thrust into a situation where I had an impact on another kid did I feel like his story was more pertinent and important than ever. I mentored an elementary school kid through the national honor society for 2 years during high school, and as an introvert, that terrified me. What scared me more was that these kids were there for a specific reason, either hardship at home or just needing someone there in their lives. I did not know how to communicate to people older than me, let alone people younger than me. I didn’t know what to do. So I remembered what Mr. Rogers would do. He would talk to kids like his equals. And I did just that. I would play games, run around in the snow making snowmen, make arts and crafts (many of which his was better than mine), and just try to take his mind off of things. If I felt like it was appropriate, I would ask him how things were going. He wouldn’t always answer at first, which was fine, but once he got more and more comfortable with me around, he would open up a little bit at a time. And believe me, just that little bit was some of the most rewarding moments I have had in my life. It wasn’t a normal feeling of success or accomplishment either. It was a feeling of unparalleled joy by seeing someone else happy and growing as a human being.

Joey, if you’re reading this, just know that I miss you, hope you are doing well, and I hope you continue to instill the values that Mr. Rogers had on others around you as well.

That was the power of Mr. Rogers. The power of being an inherently good, kind individual was a weapon we could use in times of struggle or hardship. Being a decent, respectful individual has gotten me more than any textbook or class ever did (not to say those aren’t important). It’s just that life is made up of all the relationships you have with people. The memories you have. The friendships. The laughter. The fights. The adventures. All made better by people at your side, and all made better (and easier) by living it with kindness in your heart.

They say that a mark of success is to leave an impact on society. Well I would say that Mr. Rogers did that and much more, as he will hopefully force society to to teach the next generation to be better, which in turn will teach the generation after to be even better than the one before. It’s the best pyramid scheme ever invented.

Even as I grow older, I will always refer to him as Mr. Rogers. I will always look up to him, and I don’t know if I could ever duplicate what he did at that grand of a scale which his accomplishments were. But if I just impact a few people in my life, and live it with joy, imagination, kindness, and respect, I think even he would say that’s a job well done.

The word neighborhood has always had a positive connotation in my life. Growing up, that meant friends, sports, sleepovers, endless summer nights, and no worries. Now, I associate that word with childhood, friends, kindness, respect, and joy.

And Mr. Rogers.

Thanks, Mr. Rogers.

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thelonelyrdr-blog · 7 years

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Thoughts on the Heroes of Olympus series (Part 1)

(Warning: The below review is brimming with spoilers.) Before I begin my review of the Heroes of Olympus series, I feel the urge to wax poetic about how gorgeous the covers of Percy Jackson books always are. I’m not an artist, so I can’t get too specific with my reasoning, but the colors and amount of detail in the book jackets above create an outstanding effect. (The artistry doesn’t surprise me, considering that the series is published by Disney Hyperion.) As for the series itself, I’ve forgotten more thoughts and feelings about it than I’ve had about other books. Therefore, in an attempt at cohesion, I’m going to review the series first by book and then as a whole. The Lost Hero The Lost Hero serves its purpose of establishing the villain and principal heroes of the series, but it didn’t grip me. I had to force myself to continue reading at some points, which I never had to do with the original series. However, the book still contains Riordan’s trademark humor, which I always enjoy(ed), as well as a novel approach to a frustratingly overused trope. In any other book, children’s or adult, when Piper revealed to Jason and Leo that she had been grappling with whether or not to betray them to save her father, they would’ve responded to her confession with anger and distrust. Here, though, they’re...sympathetic? An idealistic reaction, maybe, but also less cliché than the alternative, and what’s so wrong with idealism, anyway, particularly in a children’s adventure story? Their show of support to Piper, their friend, fellow hero, and companion on their quest, is, aside from being damn refreshing, consistent with the emphasis placed on friendship both in this book and throughout the series. The Son of Neptune I have the least to comment on in The Son of Neptune. Of the five books in the series, it is the least memorable to me, perhaps because it is, admittedly by necessity, a rehash of The Lost Hero, but with Percy in the role of amnesiac instead of Jason. It introduces Camp Jupiter and two more POV characters, Frank and Hazel, but that’s about all that’s significant about it. The Mark of Athena I’ve always appreciated Annabeth’s character for the fact that she’s neither the archetypal intelligent female nor the archetypal female hero. Not only do her interests lie in architecture rather than in the humanities, but her physical strength also certainly does not equal her cerebral strength: although she fights with her dagger occasionally, her wits are her primary weapon, and in The Mark of Athena, perhaps to an even greater extent than in the original series, they prove as effective as, if not more effective than, the other heroes’ more traditional methods of defeating villains. Then, of course, there’s her physical appearance. Annabeth is not a mousy brunette insecure about her looks, like most brainy female characters: she is, in fact, blonde and pretty, which, in addition to challenging the typical media depiction of teenage blondes as vapid, allows her to use it to her advantage in a squeal-inducing scene with Octavian by the dock in South Carolina. I’m sorry, but, spoiler or no, I have to share it: Very slowly, using only two fingers, Annabeth drew her dagger. Instead of dropping it, she tossed it as far as she could into the water. Octavian made a squeaking sound. "What was that for? I didn't say toss it! That could've been evidence. Or spoils of war!" Annabeth tried for a dumb-blonde smile, like: Oh, silly me. Nobody who knew her would have been fooled. But Octavian seemed to buy it. He huffed in exasperation. "You other two..." He pointed his blade at Hazel and Piper. "Put your weapons on the dock. No funny bus--" All around the Romans, Charleston Harbor erupted like a Las Vegas fountain putting on a show. When the wall of seawater subsided, the three Romans were in the bay, spluttering and frantically trying to stay afloat in their armor. Percy stood on the dock, holding Annabeth's dagger. "You dropped this," he said, totally poker-faced. Annabeth threw her arms around him. “I love you!” Earlier, we get an equally amazing interpretation of her character, this time from Leo’s POV: He had no idea where the stereotype of dumb giggly blondes came from. Ever since he'd met Annabeth at the Grand Canyon last winter, when she'd marched toward him with that Give me Percy Jackson or I’ll kill you expression, Leo had thought of blondes as much too smart and much too dangerous. All I can say is, YES! FINALLY. I literally grinned when I read the above two passages, which is worth mentioning because normally I - like most people who read on their commute, I’d wager - have no visible reaction to what I’m reading. It may have taken until 2012 for someone to challenge the “dumb blonde” stereotype in a meaningful way in children’s literature, but at least it’s been done at last. The Charleston scene also constitutes one of my favorite interactions between Percy and Annabeth, because it showcases how well they’ve learned to read each other and work as a team, and hints at the reasons why they’re well-matched as a couple. There is some discussion, in this series, of how Percy needs Annabeth to keep him balanced: without her influence, the other characters argue, Percy’s raw, awesome power and tendency toward impulsiveness would become dangerous both to him and to others. I never perceived Percy as needing to be reigned in before, perhaps because the original series was written entirely from his perspective, but this view of his character and his relationship with Annabeth makes sense, given how powerful he really is: remember, Percy is a son of one of the Big Three, who so impressed the gods in The Last Olympian that they offered him a place among them. (Aside from being logical and adding depth to his character and his relationship with Annabeth, the other characters’ concerns about Percy also serve to lightly foreshadow a rather dark scene in The House of Hades. More on that scene later.) The last comment I have about this book is: oh man, that cliffhanger! It takes a lot for a book, movie, or TV show to surprise me - ask my ex-boyfriend: I predicted most of the plot twists in Gravity Falls with only minor hints and without even actively trying - but this one surprised me for some reason. I’m not sure why, what with Percy and Annabeth constantly vowing not to be separated again and Percy’s “fatal flaw” (which never ends up being fatal, either to a hero or a quest, but I digress) of being unwilling to abandon his friends even when it would be the more practical choice, but I just never would’ve expected Percy and Annabeth to fall into Tartatus together. I expected Annabeth to succeed in convincing Percy to let her fall, which would lead to him spending the next book annoying the rest of the group with his determination to rescue her even in instances where his goal conflicted with the main quest. Though, in retrospect, the above outcome is inconsistent with his character, it would have happened that way in most other stories. I liked the alternative much, much better. Reading over what I’ve written, it occurs to me that this review is already my longest yet and it’s only half-finished. With that in mind, I’m going to stop here and resume with The House of Hades in my next blog post. Stay tuned!

#heroesofolympus #thelosthero #thesonofneptune #themarkofathena #rickriordan #percyjacksonandtheolympians #childrenslit #greekmythology #books #bookreviews #reading #disneyhyperion

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lauraxxtennant · 7 years

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don juan in soho

Review & lots of spoilers below

Ok. So, you guys know by now that I was, let’s say, cautious about several aspects of this play prior to seeing it.

I was completely turned around on one of those things, though, and this was the inclusion of music/dance numbers and an actual. Duet. Between dt and adrian. This duet was the highlight of my night. I know!!! That’s bonkers!!! I thought I was going to find this the most embarrassing moment of my life, and yet!!!!!

Let me be clear, I love musicals. I love plays. I don’t usually find it beneficial to the material when a play tries to shoehorn in a musical number. I usually think it’s best for straight plays to leave the musicals down the road to their singing and dancing, and just act the damn thing. Added to this, the fact that david tennant is clearly desperate to be in a musical lmao made me think, ‘oh god, this is gonna be a disaster, he can’t sing, it’s gonna be embarrassing.’ HOWEVER. I fully admit that he sounded good tonight. Really really good. DJ & Stan basically get stoned and sing a (brief, TOO BRIEF) semi-romantic duet under the stars at the end of act one. It’s the best point in the play, and no one is more surprised by this than me.

There’s another brief musical number in the play by the cast (not including dt) where you see a couple of real life, floppy-haired teenage dt photos projected in the background (none that we haven’t seen before.) I also really liked the tiny snippets of music from the opera Don Giovanni, which gave me the shivers. I feel like this could’ve been used to greater effect actually; if the ~moment of revelation~ and the ending of the play were stronger, bringing in those strains of Mozart could’ve had a greater impact, really set a nice tone of doom about the place. But perhaps there were practical limitations on how much they could use of that music anyway; this play is, after all, not the opera Don Giovanni.

Before seeing the show, I was also dubious about what I’d heard re: the staging. It’s quite a sparse set, which I think is fine actually, and there’s an absolutely ridiculous moment where david tennant flies into the air on a rickshaw (yes, really) which clearly made him very happy so i can take that all in good fun lol. Therefore, the only gripe I have about the staging has to do with the whole statue-coming-alive thing (yeah...really.) More on that later, though.

The third thing I didn’t think I was gonna like but did, was the hospital scene. DJ receives a blowjob from Lottie (played by Dominique Moore, who is very funny in the scene preceding this where she actually gets to speak) whilst chatting up the bride (or, ‘the fox’ as DJ charmingly calls her...) whose wedding reception he has just ruined in his pursuit of her. The logistics of it are frankly ridiculous - nobody could get away with that in a hospital waiting room lmao, blanket covering the action or not. There’s a large bag sitting on the seat between him and the bride, hiding Lottie’s ministrations from her, but the rest of the people in the room can see what’s going on. So it’s bonkers. But it’s also hilarious. I’m incredibly impressed that david tennant managed to offer up such a variety of expressions over the course of several minutes, whilst also having a conversation with the bride. Several times you think, ok, he must be nearly done, this is the orgasm face...but nope, he keeps right on going, and he doesn’t even blush. Stellar receiving-blowjob acting right there. This is the funniest part of the play, imo.

As always, dt’s comic timing is great. But I think he mines more laughs through his delivery and physical comedy than the writing actually offers him. He deserves much better material. This play is a comedy but I get the impression it thinks it’s funnier than it is, or at least it thinks it’s more quick-witted and worldly than it is. Admittedly this comes down to personal taste as much as anything. I did laugh aloud in places, but there were several times I heard someone a few rows back really, properly laughing at something I considered pretty tepid on the humour front tbh.

As I mentioned in my summary earlier, the staggering amount of alliteration in this play nearly made me lose my mind. Once you notice something like that - something repetitious in someone’s writing - it is so hard to tune it out. I know this sounds like a very nit-picky, minor thing, but it was honestly so irritating!! The line that’s been thrown about a lot in the promo stuff/reviews, ‘Satan in a suit from Savile Row,’ is truly just the start; that line is said by Stan, but DJ gets most of the excruciating stuff, including a dozen or so lines informing us that DJ cannot possibly be racist because he’d do it with, among other alliterative ladies, ‘a babe in a Burka.’

Talking of racism. There’s a terrible line about how DJ wants to fly to Alaska to have sex with a ‘furry little eskimo,’ which I didn’t find particularly pleasant or funny.

The supporting cast is very non-white for a West End show, so kudos to the casting director for that, but it is unfortunate that DJ’s brother-in-law, who I have seen described in a review as a ‘black thug’ (!!!) is the maker of DJ’s demise.

There’s also a really tasteless scene where DJ is interacting with a homeless Muslim man. This is the scene I was referring to when I said something turned my stomach. He dangles his £6k watch in front of his face and tells him he can have it if he blasphemes Allah. I’m aware this is a direct parallel to a scene in Moliere’s Don Juan (wherein he offers a coin to a beggar on the proviso the beggar concedes to blaspheme; interestingly this scene was removed from performances at the time.) But the execution of this scene is just so tasteless and unpleasant. Oh, and also dt imitates the Muslim man’s accent at one point. Grim.

Though DJ, in his monologue near the end of the play, riles against hypocrisy, he is so self-righteous in this scene that it’s almost unbearable; he goes on and on about how Allah hasn’t done anything for this homeless man, so why can’t he insult him (at first he wants him to call Allah a cunt, then he de-escalates to ‘twerp,’ neither of which the man does. Thankfully DJ throws him the watch anyway, ‘because of his integrity.’ But that this rich, vile, atheist man could shout in this other guy’s face about his religion...it’s horrible. Stan agrees, so at least our ~moral compass within the play (dubious) is on the audience’s side. But still, it’s very uncomfortable to watch.

For me, this was the only shocking moment in the play. Though this play is billed as being filthy and shocking, there is nothing inherently shocking or controversial about a fictional portrayal of a womanising, amoral, cynical, privileged white male with an excessive sexual appetite, penchant for prostitutes, and evidently an addiction to drugs and/or drink. Those characters are, let’s face it, ten a penny in literature, on stage, and on screen. DJ’s liberal use of the word ‘cunt’ might shock some in the audience, granted, but I think this play thinks it’s more shocking that it is. The language in the play is clearly something dt relishes getting to perform, and I am not offended by swearing at all, and honestly quite like hearing him going for it (apart from that one time he calls a prostitute ‘fuckface,’ not that she seems to mind.) But it’s sort of a bit laughable, that lines like ‘I’m just a cunt with an eye for one,’ are trying so hard to provoke laughter and/or shock, when...it’s just not even that great a line? A lot of the ‘funny’ lines are phrased pretty awkwardly tbh.

Other absurd moments:

DJ declaring himself a radical feminist. (this is funny because aside from Marber’s use of that word in this one instance, the rest of the play seems to take place in a contemporary world where feminism never happened.)

The statue coming alive. I hated this lmao. I mean. It’s all hallucinatory/figurative I guess (i hope??) because it’s his own voice bellowing from the statue that DJ hears, foretelling his impending doom and indicating how much he despises/fears himself, but the surrealness of the statue moving about and pedalling him into the air on a rickshaw, it’s just...it’s embarrassing

‘I’m not a rapist, I don’t grab pussy!’ getting a huge laugh. a) the bar is truly low when you have to say at least the dude is not a rapist, b) i hate donald trump as much as anyone but this is one of those poorly-phrased lines i mentioned that aren’t actually very funny. It felt a bit shoehorned in tbh.

Elvira, DJ’s wife, is an oddly-conceived character. I understand that reflecting the convent-girl origins of this character in the modern day was gonna be tricky, but the modern-day equivalent Marber comes up with is not particularly believable. Rather than a nun he’s lured away from the convent to marry/take the virginity of, as in Moliere’s play, in this play Elvira is a charity worker who, after a two-year pursuit, DJ has finally persuaded to marry him. The reasons he wanted to marry her are the same as in the original: she’s a virgin, and won’t sleep with him before marriage. Once they’ve had their honeymoon, he’s off to bed Croatian supermodels, done with her now that he’s finally had sex with her.

The suspension of disbelief comes in twofold: firstly, we have to accept that Stan and Elvira’s brother throwing around the words ‘she was an innocent’ and ‘she was pure’ (and the implication that she has now been corrupted) are likely phrases to be said these days. I mean, come off it. Secondly, Elvira’s speech - about DJ being terrible but at least he opened her up to physical pleasure! At least he showed her how magnificent all these filthy fantasies she didn’t know she had could be! She won’t be with him now she knows what he’s really like but she still loves him and always will! - all of that nonsense, it just didn’t ring true. Especially as we come into their relationship just as they are back from their honeymoon and he’s sleeping with someone else, so we don’t even get to see evidence of how he charmed her in the first place (she references that he was sweet and kind and acted so in love, but we never see these traits in DJ at all.) The actress playing Elvira, Danielle Vitalis, didn’t give a particularly strong performance imo, but I honestly don’t know how much of that was really her fault, given the ridiculous lines she had to say.

The final thing that rubbed me up the wrong way was the monologue near the end. The disdain for millennials from middle-aged male writers made a jump from online articles to stage with this one, or, if not targetted at that generation specifically this time, then at least at this digital day and age we currently live in. It elicited rapturous applause from the audience, and yeah, the ‘welcome to my vlog; today i bought a plum’ line was amusingly delivered, but I have no time for a character who is morally bankrupt claiming the moral high ground simply because he finds selfie/social media culture undignified and lacking in class. I might agree with him on his comments on the value of privacy, but this dude is shamelessly shagging his way through Soho (christ, I’ve caught Marber’s alliteration bug) and so I think his sermon on hypocrisy is a little tone deaf.

Are we expected to equate the unapologetic, relentless pursuit of ‘skirt, or occasionally, trouser’ with a life lived to the full, a life celebrating ‘free will and answering to nobody?’ It’d be one thing if DJ genuinely loved women, as in loved in the way dt’s Casanova loved women; a seducer and a bit of a cad, sure, but one who at least respected and admired rather than objectified women. But DJ generally seems to have contempt for them bubbling under the surface, and in any case, the only reason he is able to pursue this kind of life - one sexual dalliance to the next, a snort of cocaine here, a cigarette and a scotch there - is because his father is rich and can fund such an elite lifestyle. There’s also your typical middle-aged male writer cynicism about love dressed up as a philosophical, salient point about the unnaturalness of monogamy as opposed to the natural state of man being to ‘hunt his prey.’ Marber, mate - you ain’t saying anything new, here. Writers just like you wheel out this faux-philosophy about the human condition more times than I can count, and all it ever really tells me is that you wish you had the guilt-free option to have an affair yourself.

I say all this because it’s quite hard for me to decipher what Marber really wants us to take from this play. DJ is warned of his reckoning, promptly feigns contrition to ensure his father doesn’t cut him off, but feels no actual guilt or compulsion to change his ways. He then eventually gets his comeuppance, and Stan regularly tells us how despicable he is, but I still get the impression that, in spite of Stan’s warning, ‘please don’t be charmed, he’s not a loveable rogue,’ that’s exactly what’s expected of us. Indeed, Stan says at one point ‘just as we were starting to warm up to him!’ (I think after the homeless man scene.) But I…..was never charmed. Not even for a second. I don’t think anyone could be? Honestly? Because he clearly is despicable, he has no compassion, is selfish to the extreme, has received all the luxury and privilege being the heir to an earldom affords him, with none of the responsibility, has never worked a day in his life, and has only limited affection for even the one person closest to him (Stan, an employee he never pays and treats abominably.) As dt has postulated in interviews, DJ is a sociopath. And yet we are subjected to a lecture from him on the indignity of a world of selfies and vlogs and hypocrisy, as though those things, vainglorious though they can sometimes be, are more sinister and morally corrupt than his objectification and dismissal of every woman he comes across. It’s a bit hard to swallow, frankly.

DJ has great hair, tailored suits, tiny red pants, and the innumerable benefits afforded to him by virtue of being played by david tennant. But he’s never particularly charming. We never see anything of the kindness and gentleness that so charmed Elvira into marrying him. We never really see him seduce anyone, aside from Lottie (this seduction is essentially him groping her boobs in the guise of being a ‘specialist doctor,’ complimenting her assets and telling her she shouldn’t change herself in any way [she’d mentioned she wanted a boob job]) and the only other time we see him in a sexual situation is with four prostitutes, and he has evidently paid for their company. But we hear he has had sex with three different women a day for the last 25 years, and that he is ‘extremely fuckable.’ I mean, yes, to look at him, clearly sexy af. Yet I feel there was a twinkle in the eye missing for anyone to actually be compelled to go for it with him; for comparison, rather than returning to dt’s Casanova again, I’m now thinking about Tom Ellis in Lucifer, who does play a loveable rogue, and the contrast is pretty clear.

And I bring this up because I’m left here thinking: if there’s nothing really interesting about DJ, if he really is just one-dimensional, and selfish, a destructive man with delusions of self-importance, who’d ‘fuck a hole in the ozone layer’ if he could, then....why? Why are we interested in this man? Would we sit there and watch two hours of a female character doing the same thing? Would anyone even bother writing that, let alone consider producing it? I don’t think they would.

It’s an entertaining play because dt and adrian breathe humour into a script that is, occasionally, lifeless. They can’t save every line, but their chemistry is great and their relish for these parts is evident. The play isn’t as shocking or as funny or even as filthy as you’d expect, and I don’t think it taps into the moral quagmire it thinks it does; honestly, it’s pretty standard stuff. I still don’t know quite what Marber’s going for. Of course, there doesn’t necessarily need to be a ‘message’ or a twist or a social commentary to be figured out within a production. But I think if you’re adapting something that plays with the idea of a libertine repenting through fear of death/hell, and if you feel that won’t resonate in a contemporary setting, then the stakes ought to be raised in another way. The spectre of impending doom looming over him is pretty lacklustre, and, given that DJ would rather die as he lived than profess a simple apology to save himself, the ending isn’t very evocative at all - it’s actually a bit dull.

Best bits:

DJ & Stan’s duet

dt’s hair

stan’s endless exasperation at DJ’s antics

the hospital scene

the tight blue suit

dt looking so happy flying overhead in a rickshaw (despite the ridiculous statue driving it)

stan’s last few lines

i cannot stress this enough: dt looked super hot

Worst bits:

the homeless man scene

the patronising tirade against this vain new world

the elvira plot

the statue coming alive and foretelling his doom a la marley’s ghost in a christmas carol

the lacklustre ending

3/5 stars, could’ve been a lot better. with a different writer. and plot. 😂

#don juan in soho #laura's theatre adventures #ok exactly none of you really want a three thousand word review of this play lmao #but that's what i have provided #goodnighttttttttt

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fangirlingabout · 7 years

Note

Since you are a big fan of cartoons what are your top 10 favorite cartoons of all time? Honorable mentions can be included

Oh! Oh, cool! You seriously don’t know how cool it is that someone would care to ask, thank you!

Also, sorry for the wait. Seriously, that was excessively sucky. Life likes to get busy at inconvenient times, you know?

But dang, that’s such a hard question…

Only one way to do this right.

Dammit, Anon, This is Hard

I’m not the type of person to decide on ranks (or anything) very easily, so I’ll say this: some choices were easier than others.

I should also mention a lot of these choices are very personal, and if this were a more objective list of the best shows out there, it would be totally different. I also don’t pretend to always have the best taste, these really are just my favourites that I’ve seen. Sometimes I can recognize that one show is probably objectively better than one I like, but that won’t necessarily stop me from liking something. Basically, my list, my bias.

Still, I’ll do my best to explain my choices for those of you who didn’t have the same experiences with these shows that I did. I assume you don’t live in my brain.

Honourable Mentions

Is it hard to believe that the honourable mentions section was harder to decide than the actual list?

There’s just so many shows I’ve enjoyed and I think deserve to be lauded. If you ask me, “Well, what about ____?! Where the hell was ____?!” it would probably fall in this category.

I’ll try to keep it short, though:

The Fairly Odd Parents - I don’t think you could’ve grown up in the early 2000s without encountering this show in some capacity, but I absolutely loved it growing up; I played FOP video games, I watched it every day after school, I even remember catching all the movies on TV whenever I could. It’s always had such a great sense of humour, combined with the jazzy stylistic choices that gave it that extra punch. More recent seasons aside, this one is a 2000s classic.

Over the Garden Wall - I watch this every October now. It’s absolutely spectacular. I think the only thing holding it back is sadly that it’s a miniseries—and it’s not like I would change that, the story needed to be told the way it was. But it’s become seasonal for me, so it’s a favourite but… only briefly.

Rick and Morty - Damn, I love this show. Just give it one more season and let the plot really start to kick in, it may start to climb this list

There are also plenty of shows that I think could be on here had I gotten to watch more of them, and some of those include:

Batman: The Animated Series

Danny Phantom

Sym-Bionic Titan

And here are shows I once had a bit of an obsession with that in hindsight… was a bit unwarranted (again, I never claimed to have great taste):

Hi Hi Puffy Ami Yumi

Yin Yang Yo!

Total Drama Island/Action

With that out of the way, onto the list!

#10. South Park

What can I say about a comedy that’s antagonized censorship on TV 20 seasons? Well, for one, there are moments that genuinely reward you for caring about these characters for so long. For example, there’s a gut-punch of a two-parter, You’re Getting Old/Ass-Burgers that legitimately made fans question if the show was in danger of ending, with just how fatalistic it’s tone is.

They’ve even since made the transition from episodic to serialized season-long stories—to varying degrees of success, admittedly, but I don’t know if a show, especially one this well-established (this happened in season 18) has ever done that.

In a strange way, South Park’s a show that innovates. It quickly surpassed any other show on at the time for most edgy/boundary-pushing—to the point that its offensive humour wouldn’t be acceptable coming from anyone else but South Park (which isn’t to say I don’t understand when/if people have an issue with it, but… more on that in a sec)!

I’d also like to give special shoutout to the South Park Movie, and the recent South Park video games, the Stick of Truth and Fractured, but Whole—all three of which are jam-packed with South Park goodness.

Personal Reasons: When I was growing up this was the pinnacle in shows my mom didn’t want me to watch. And with what little of a rebellious streak I had, I took that to mean it needed my attention.

I remember watching it late at night (which just made it more scandalous!) with my brother, and separately with my best friend at the time, Daniel. We loved that kind of raunchy, crude humour! And in hindsight, like I said, I know there’s been plenty of times when they’ve made jokes in poor taste, but I don’t know. Sometimes when you make fun of everyone equally, there can be room for some less tasteful jokes. Especially when being a boundry-pusher is a big part of your identity.

As the old saying goes, “It’s South Park: what did you expect?”

#9. Clone High

One of the more obscure choices on this list, but I’ve mentioned it from time to time for sure. Coming from the writing/directing team behind Lego: Batman, Cloudy with a Chance of Meatballs, and 21 Jump Street, Clone High was a short-lived 13-episode MTV comedy.

The premise was simple: clones of famous historical figures all go to high school together.

Done, simple as that.

But what makes it so funny is how it parodies the high school drama genre while still existing as it’s own story with it’s own characters. Like, every episode is always announced as a “very special episode” and even in their short run, they managed to do the Drug episode, the holiday episode, the natural disaster episode, the dramatic Death episode, the class election episode—it just doesn’t let up.

Oh, and I’d like to mention Pan Pzza/Rebel Taxi did a stellar review that goes into the history surrounding the show along with some analysis of its content, so if I piqued you’re interest at all, you can find a more in-depth review over here.

Personal Reasons: This s a show my brother introduced me to. Watching videos or playing video games with my cool older brother was always awesome, so watching a show with him as tons of fun.

#8. Moral Orel

My god… this show is the absolute most brutal show I’ve ever loved. You can tell by my lists that I tend towards shows that deal with darker subjects in soft, even light-hearted ways, but this isn’t that kind of show.

Or, at least, the season that made it my 8th favourite show isn’t.

I should explain. Moral Orel was a show on Cartoon Network’s Adult Swim that had a total of 3 seasons (with a prequel special that came out years after the fact), and for most of the first two seasons, it’s a vastly different show than in its third season.

From the second season’s finale onward, Moral Orel becomes one of the most bleak, bitter, heart-wrenchingly real shows on TV. It’s breath-takingly bitter.

The first two seasons largely center around the main character Orel Puppington and his religious adventures in his hometown of Moralton. It started as a parody of Christian cartoons, in particular the stop-motion/claymation Davey and Goliath.

Basically, Orel would learn a lesson from an authority figure in town and misinterpret it to the extreme. It could make for some funny commentary now and again, but in truth it was nothing special.There were a few early episodes worth watching, like the Lord’s Prayer and The Best Christmas Ever, but if that’s all it had to offer, its charm would wear thin.

This, on the other hand, is no regular series.

The fact that it started out the way it did makes the reveal even more powerful. You see, those more upbeat first two seasons, where the morals are skewed and everything’s just a bit cheerier than it should be come crashing down when Orel’s father’s alcoholism is taken devastatingly seriously during a hunting trip in the two-part season finale “Nature” parts 1&2.

Nature marks a drastic turn in the series tonally. From there, the series shifts focus from just being about Orel to chronicling the lives of several members of the town in the aftermath and the days surrounding that infamous hunting trip. The third season even starts counting down each episode (Numb, for instance is 1 out of 13).

And the reason for this is that as Orel lost faith in his father in that season finale, we, along with Orel, start to see all the people in his life in a different, sometimes disturbing light.

If I’m making it out to sound a bit on the unwatchable side, I understand, you don’t always want to watch something that will bring you down like that. But to sing its praises just a bit more, the reason it struck such a chord with me is because there’s such a humanity to it. There is hope somehow, and goodness in all this messed up stuff.

Personal Reasons: I used to stay up late watching Adult Swim, or use the TV to fall asleep to. I managed to catch episodes now and again, so it hit me hard the first time I saw some of the darker or more bittersweet episodes.

#7. Steven Universe

We jump from one of the harshest shows to one of the sweetest! And yeah, I was surprised this wasn’t higher, too

And maybe it could change as the series goes on, but in the meantime, wow is this a fantastic show! We’ve talked about it a number of times on FGA, but I don’t think that’s any reason to not sing it’s praises some more!

Premiering in 2013 on Cartoon Network, Steven Universe, as you probably know (because this is Tumblr), follows the titular Steven and his emotionally-driven life with the Crystal Gems, alien rebels from a far-off Homeworld.

Properly referred to as “singing and crying,” Steven Universe slowly runs the gambit from gorgeously heartbreaking to sweetly uplifting, all the while feeling like a mellow, safe, and warm place to be.

Like many people have said in many different ways, it’s a show that explores relationships. All kinds of relationships. It’s made massive strides in LGBT+ representation in kids’ shows, presenting it without the pomp and circumstance of a “very special episode.”

The gradually unfolding plot has fans like me hooked, even if the slower pace and hiatus plague can leave us hanging for quite some time.

Personal Reasons: This is yet another show that I’ve gotten watch and talk about with my girlfriend, so I think I’ll always remember it fondly for that. Fangirling.

#6. Avatar: The Last Airbender

It’s what I consider to be the greatest show of all time… and it’s this far down on the list. There really is no justice in Bias Town.

One of the best purely serialized shows out on this list, Avatar is a perfect example of a simple three act story-structure. It tells a complete, satisfying story that needed no more and no less.

And in that time, it managed to find the perfect balance for everything. Rich, interesting world-building reflecting real-life cultures? Check. Fun plots that moved forward the overall story? Check. Likable complex characters that humanize the world so no one side is undeniably in the wrong? Check.

The only thing that took a while to grow on me was Avatar’s humour. Can’t explain why, but once I warmed up to it, there were episodes and moments that made me lose my shit.

It’s such a well-crafted story, and I could probably just go on and on about how well everything was developed, but sufficed to say, it would probably top my list for what’s objectively the best cartoon out there.

Personal Reasons: I’m pretty sure I’ve said this before, but I actually missed out on Avatar’s original run. I vaguely remember being interested by it, but never catching an episode in full.

Years later, I somehow stumbled across it by chance, and oh my god. Oh my god, you guys. I watched most of the second and third season in one weekend. I couldn’t stop.

#5. Spongebob Squarepants

In last year’s Nostalgia Month, I fangirled a little bit about Spongegbob, and if you read any of that, you’ll know I’ve always been a huge fan. It’s one of the cornerstone series of my generation (just take a look at the Ocean Man meme that was a thing for a while—that song is buried in the credits of the Spongebob Movie, so you would have had to sit through the credits to get that reference), along with Pokemon and Fairly Odd Parents, so again, I couldn’t not have some experience with it, but I was pretty much a super fan.

And there’s kind of a reason for that. I can’t say what it’s like now, but in its early seasons, it’s humour was surprisingly intelligent and stupidly funny. There’s definitely a difference between stupid characters and a stupid show, and so long as you can see that, you’ll find a charming undersea comedy that became a household name for a reason (at least initially).

Personal Reasons: God, where to start. For one, I have a fear of fish, but I love swimming and the sea. That fear developed in second grade, ironically around the time I would’ve been the deepest in my Spongebob phase. I think it helped, actually. There’s a reason I have a random anchor as a logo.

And you know, there’s some shows that you love so much that they come to represent a part of your life. All my elementary school days and even into middle school, Spongebob was something I was an expert in. I had as much merch as I could afford to get, I watched it religiously (even the DVD boxsets), I made my first best friend that way— it just ruled my world for a long while there.

And I wouldn’t have it any other way. The nostalgia goggles are strapped on hard for this choice, but I couldn’t honestly tell you I don’t have a sincere place in my heart for it. And always will.

#4. Gravity Falls

You know how the 2010s starting kicking a lot of ass for animation? I think more than anything—more than even Adventure Time (which I do love)—this is the show that represents that to me. Not because it’s dated, but in fact the opposite: because it’s a modern classic that will forever feel timeless. Something truly spectacular that we’ll always look back on and remember as ours.

Gravity Falls takes influences from all the best stuff, but makes itself unique by being incredibly inventive. Like, it really does remind me of any Matt Groening show because of it’s sense of humour and even a bit of the world-building, but the mystery and heart are so magnificently its own. These things are the backbone that take the the already stellar comedy to a whole other level.

The best word for it is just as I said: magnificent.

From beginning to end, it’s undeniably so. It rewards close-viewings and theory-makers ten-fold, and that detail-orientated approach makes the experience that much richer and more, well, rewarding.

You knew it was coming, but hell, I can’t deny a show that succeeds in doing so many things I love so, so well.

Personal Reasons: I’ll never forget the experience of watching Not What He Seems for the first few times, or really, a lot of the episodes. Watching the fandom come up with theories about the Stan twins a season in advance, and then seeing those theories made reality in the most spectacular, theatrical episode of the television I’ve ever watched blew me the fuck away.

And getting to talk about it here and with LittleNightwing just made it more of an interactive experience, which is exactly the kind of thing Alex Hirsch wanted.

I know I’ve said this too many times by now, but I even wrote part of an episode for Gravity Falls: Deep Woods (a storyboarded fan-series inspired by the show). When episode three eventually comes out, if they haven’t cut it out for time constraints, my name will be in the credits. And having my name associated with anything related to this show is just an honour.

#3. Futurama

I don’t even know what I can say about Futurama that hasn’t already been said, but whatever, I’m gonna try because I have to include it.

It started airing back in 1999, which was appropriate, because the series starts us out by travelling to the year 2999 on New Years, entering into the new millennium as we enter into this new series. And from there, this lovable portrayal of a future that somehow seems not too far from our present day becomes awesome.

Everything is a little crappy. That’s not a diss on the show, it’s just the reality of the year 3000. It’s not some dystopia, but it’s no utopia, either. It comes with all the problems and foibles of modern day, just with different technology, space travel, and alien races.

And don’t get me started on how inventive it can be. The writers staff behind that show is one of the most educated on television—quite literally, with “three Ph.D.s, seven masters degrees, and cumulatively had more than 50 years at Harvard.”

And they put all that to use to make sure the science behind that sci-fi could work. In fact, they not only created their own alien language for the show, but writer Ken Keeler devised an entirely new math equation to resolve a plot point for the episode “Prisoner of Benda.” In the field, it’s referred to as the Futurama theorem or the Keeler theorem, and has since inspired research.

So when I say next level nerdy, I mean next level nerdy.

Futurama uses this incredible scientific and mathematical power to parody the sci-fi genre with a great sense of humour and a Simpsonian sense of heart. Pretty much all of the main cast has at least one tear-jerker episode, but none so powerful as the infamous Jurrasic Bark, an episode dedicated to telling the story of our main character, Phillip J. Fry, and his dog Seymour. It will tear you apart.

Personal Reasons: This is yet another series I grew up with, and I think it taught me a lot about storytelling. Episodes like Luck of the Fryrish, The Sting, or the aforementioned Jurrasic Bark end on a incredibly bittersweet note, and to really earn that, the writers build it up expertly.

There’s also episodes like the Emmy-winning Roswell that Ends Well that take these wacky sci-fi concept to insane new levels. Whether or not I can execute on that, it taught me to always push an idea further.

Plus, I followed the series from it’s original run to it’s first cancellation to the four straight-to-DVD movies (that I ADORED renting from Blockbuster) to it’s return and final ending in 2013. It’s been one hell of a ride.

#2. The Simpsons

And at this point, you probably know the whole list. But let’s go through it anyway.

The Simpsons, for me, really is one of the most brilliantly stupid comedies out there. It seems there are a number of comedies on this list that could be written off as just brainless, but I think there’s a charm to that for me. Something that clearly doesn’t take itself too seriously when it doesn’t have to. The Simpsons, in that way, has always been rather inviting to me.

Despite it’s now nearly 30 year run, it never seems to have an ego about itself, even when some consider it the greatest comedy of all time (me).

There’s an endless amount of hilariously quotable episodes, and like any good comedy, it doesn’t skimp out of the character development or sentimentality. It’s certainly lost it’s touch for the most part, as is the case with a lot of running series, but every now and again, even in the later seasons, it still manages to surprise.

I couldn’t explain it’s legacy if I tried. It’s currently the longest running animated series, and at this point, seems to have outlived the entire era it was so adept at parodying, but it’s still so legendary I can’t fault it! Even the impossible finally does happen and the show takes its final bow, I know this funny family will keep me laughing for years to come.

Personal Reasons: This started as another show my mom didn’t want me to want, but the reason I got to watch it so much and maybe the reason I love it so much is because my dad loved it.

From that point on, I started collecting the DVD boxsets of every season I could, and enjoying all the early seasons I was too young to watch when they originally aired.

And watching Simpsons reruns in whatever capacity I could became tradition. I still do to this day, even if it’s just online now. It’s become sort of a comfort show, it’s that familiar to me.

Plus, there’s the Movie, and games (The Simpsons Hit and Run is so much better than it has any right to be)—I even wrote an essay on The Simpsons back in high school.

It’s just been the huge, life-long love for me that will never truly end because of how much it shaped me as a person (as silly as that sounds).

#1. My Little Pony: Friendship is Magic

Shock! Awe! Everyone is stunned! People never would’ve seen this coming if they know me…

Alright, so I’m predictable (I prefer the term “reliable” but considering how long it took to get this list out…), but it’s strangely so well-suited to everything I love. This entire section is full of personal reasons.

There’s fantastic characters to love (and obsess over); a heart-warming, light-hearted, cute, and ultimately loving tone that’s inexplicably never too saccharine even when it by all means should be; a fascinating fantasy world to dive into; a remarkable at times Disney-esque musical element; an eye-pleasingly soft animation style; an unashamed love of puns—I mean I could actually go on about this for a full year.

I really, really could… over on my main blog (sorry for the self-promo, but it’s relevant).

Year of the Pony, MLP Editorials (which are a big part of YotP)

I’ve dedicated this entire year to talking about My Little Pony in an event I’m calling Year of the Pony. There’s so far been something pretty much every week, themes for every month—I love this show a lot you guys. I really, really do.

That really is the reason I’m doing this event. I’ve been a fan of this show for five, going on six years, and it somehow became my favourite show of all time, even when there are shows out there that I think are objectively better. I’m trying to dissect why that is bit by bit.

For instance, here’s an upcoming two-parter:

These two characters are sisters, and long story short, one was forced to send the other to the moon. This was a story that introduced the series in the first two episodes, and has since been explored by the fandom in every way imaginable. So I have to ask questions that’ll give me a way to talk about how much and why I love this particular story element.

It’s not the greatest tragedy out there, sure, but I’ve seriously gotta figure out why this has struck such a chord with me, you know?

Obnoxious self-promos aside, I really did fall and fall hard for this series I think because it was still unassuming by the time I got to it. The was a fandom, sure, but I didn’t know what to expect (whether these “bronies” were just using it for memes and liking it ironically or what), and that made it a genuine discovery for me.

And it’s that very unassuming, unpretentious sweetness that continues to make me love it, even though it’s made a few mistakes along the way. I don’t think it’s a perfect series, but it’s definitely perfect for me. And what more could I ask for in a favourite show?

But that’s just my list. Feel free to tell my some of your favourites or take up the challenge to put out your own list and send it my way! Show me how much better your taste is than mine!

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