I'm barely to the massacre and I can already tell I'm going to be screaming at every this-makes-no-sense decision made by the writers (your temple is under violent attack, and you evacuate the kids... to a barely enclosed corner in a prominent temple room? Instead of to the hundreds of sky bison that were highlighted as flying in earlier? Why?) (And Aang left to clear his head and think instead of to run from his duties? That's such a less compelling plot arc?) (And the show had him briefly monologue about being a goofy kid who loves pies and his friends instead of using the extended temple scene to show any of that? Didn't want to pay more child actors, did you, Netflix?)
Yeah I'm just. Going to be screaming at the screen instead of enjoying this. Different decisions aren't necessarily bad, but when those decisions seem to be in the direction of "show a man burning alive before we even get to the on-screen massacre" this is just... not the show for me.
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One of the most fundamentally interesting things to me about YJ and writing fic, specifically, is how the blame changes hands depending on the story. On whose perspective you're writing from. On whose story it is at a given moment. The very thing I dislike about viewers missing the point becomes so fascinating to me from within the narrative. Who are these characters when seen through the eyes of their peers?
Who does Jackie become? If you're Shauna, she's the love of your life, and your greatest rival, and the other half of your soul, and the person you blame for your dead dreams. If you're Van, she's the respected captain who earns none of your respect in the woods, the one who left you to die without blinking, the easiest target for teenage malice. If you're Natalie, she's competition for affection, the blabbermouth who can't leave well enough alone, the hands putting themselves to no good use. If you're Jackie? You're just a girl. You're so tired. You're so scared. You're losing face a little more every day, and you're made of despair, and you can't even trust your best friend. It's not your fault. It's not your fault. It's not your fault.
Who does Lottie become? If you're Natalie, she's your direct foil, the splinter under the edge of your thumbnail, the smart mouth to match your own, the confusing amalgamation of normal friend and mad ritual. If you're Misty, she's the first shred of obvious power in months, a leader who might need to be nudged back into line, a fascinating exercise in hitching your wagon to the right star early on. If you're Taissa, she's flat-nuts and endlessly frustrating, she's got your girlfriend's full attention, she's incredibly dangerous. If you're Lottie? You're just a girl. You're so tired. You're so scared. You've built a pedestal you can't keep your balance on, and you're not sure if you're right or going crazy, and you didn't want this. It's not your fault. It's not your fault. It's not your fault.
From outside the narrative, there is no bad guy. There is no blame. It is no one's fault. It is Man v. Nature, they are doing the best they can with an impossible situation. They're all trying to contribute what they can to the story, for better or worse.
From inside the narrative, you are a teenager trapped in a society constructed entirely of bare-bones-survival with the wildest assortment of girls. From inside the narrative, to stay human, you have to love and fight, respect and judge. Every story changes the game. Every story shifts the blame. A hero in one has the bloodiest hands in the next. And that, to me, is such a thrilling sandbox to play in.
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I missed you too
The Parent Trap
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I ended up watching the original 1961 Parent Trap and LORD but there's a lot going on in that film.
But ignoring the more . . . distressingly unhealthy 60s attitude toward marriage dynamics. . . The actual twin swap is such a good angle (and the effects genuinely hold up really well) I just wanted to capture the stress of trying to assimilate into a life so unlike your own, and that gut punch moment when they get to meet their missing parent for the first time.
And from there I just couldn't help imagine a future parent reconciliation, with a couple of siblings added into the mix . . .
Unlike in the film where they were right to have gotten divorced (and shoulda stayed super divorced)- Takaaki and Kiyoko's seperation was very much a symptom of Toranosuke's scandal and demanded by Kiyoko's father. So when they meet once again as a result of the Twin's shenanigans, the two of them could easily develop a genuine connection, now they're older, more experienced, and freed from the pressure of expectation.
And I'm not immune to making every red eyed Dangan character an Ishimaru sibling
(Truth be told, this has been on my mind ever since @puckishpal 's just marvellous fic Changed, and I really wanted to get this out in time for @mini-mecha-cowboy 's Kiyotaka week prompts AU and Lookalike, but uuuh- I managed to miss that by just a few ;; )
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COULD VERITAS RATIO BE A WORM?
see the updated theory HERE
the answer 😏 may surprise you
ok listen to me. a long time ago aha made a worm really smart and tried to get it into the genius society. but even though that worm was smart as hell, nous did not give a fuck about it.
you know who else is smart as hell but nous doesnt give a fuck about?
heh. yeah. thats right. despite many people (including himself) feeling like nous should have recognized him a loooong time ago, that computer just doesn’t care.
now, we are left to wonder… why does nous refuse to acknowledge this man..?
i think it’s quite obvious.
my theory is that aha made a second worm really smart. and Then they made the worm into a sexy guy.
and now they’re outside nous’s window, giggling, as everyone in the universe ponders why veritas ratio is not permitted into the genius society.
“what’s wrong, nous? he’s a genius, isn’t he? let him in,” aha goads.
nous is glitching in frustration. “it’s the worm again. i know it’s the worm again.”
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