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ignitification · 3 years

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Colour Analysis III: (LoV Series II) - Dabi

Yes, no - you don't have any hallucination. It's here. It is. And yes, it took an absurdly long time to, but it's here so mh, yeah - enjoy.

I suddenly remembered that an ask, long ago, asked me about the design pattern evident for Dabi. It's here in case you want to have a look at it.

As I stated there, Dabi is a living contradiction, especially in terms of colour theory.

His colour pattern is a chameleon of sorts: he both represents light and dark at the same time, as if he cannot decide which one to stick with. I think that this duality has all to do with his genealogy. Inheriting his mother constitution and his father's Quirk amplified, Dabi goes through an adaptation process, manifesting especially by the change in his hair's colour (same as Tomura, that is - you can find the link for his analysis at the bottom of the post). The dyeing hair is also part of the process, but this time it comes about with a voluntary part, which brings us to the point that even if not entirely, Dabi's personality is build around a feeling and a character, which he wants to express and contrast at the same time. This is why, as I already specified the most important colour when it comes to Dabi are Blue, Purple and White (with a sprinkle of Red).

I.) Royal Blue

More than any other colour, Blue is what fits Dabi the most. His eyes are blue, his fire is blue and his clothes are blue (different variation, but you get the gist).

Blue usually stands for coolness, loyalty, intelligence and responsibility. But pushing this aside for a minute, blue has a distinct effect on the human body: it lowers the heart rate and the body temperature and has a calming effect. It's a constant colour which represents the tide of waves and the never-ending blue of the sky. In respect to Dabi, it can be seen how this hardly applies - but, at the same time it does. As Dabi inherits Rei's constitution and her resistance to the cold - but his father's 'fiery' personality, his fire manifests as both. It creates a friction, until the burns on his body become an evident purple. This characteristic has a distinct connection to Red (section IV) - however, the leitmotiv is that Dabi's body is used to the effects that blue should have on him, and instead of seeing it realise they are brought down and counter-affected by Red (which is a metaphor for his entire persona).

Blue has the feature of being ever-changing, which, as you'll have understood by now, is one of many contrasts in Dabi's appearance. He indeed goes through an exterior change - but as blue, he remains steady on a path (which is revenge, and will to actually prove to Endeavour that he is not a mistake), making his character consistent with his ideas throughout the arcs and steady.

An overuse of blue is cold and impersonal - indicating the presence of deep dark secrets and having a connection with feelings of sadness and depression. It creates the pictures of someone hiding in the dark just not to reveal their secrets, and for a long time we see Dabi trying to keep a low profile and then approach with an attitude of uncaring and cold indifference. He has burned his eye glands, which should allow him to express this feelings - but they are expressed, on the contrary, in the strength of his fire, and causes old feeling to settle and burn their way through his persona.

Blue is a susceptible colour and it hurts deeply - because in the first place, people associated with blue tend to feel too deeply. This fits the pattern of Dabi's fire being conditioned by his emotions, and why likely it creates deep wounds on his body: as a remainder that his feelings, expressed through the fire are way too intense and affect Dabi deeply. Deep enough for him to survive an astonishing fire and to hide for years in wait of having the right opportunity, the perfect opportunity to actually redirect this feeling onto the subject which caused them. As the constant colour that it is, indeed, blue (and Dabi) lives in the past.

Light blue is associated with healing, understanding and softness (his eyes), while darker hues are instead expression of power and knowledge (clothes - as a reminder of adulthood).

Finally, back on the literal meaning of blue: blue is a giver in the relationships that matter, but at the same time this colour can be unfaithful and deceiving (and we saw this in his interactions with the League at first and with Hawks, too). It is associated with intelligence and and consciousness (and indeed, the one who sort of had the reigns of the Training Camp was Dabi, and furthermore he is the only one who Ujiko retained mature enough to control a High End). This encompasses his characteristics of being reliable and responsible - and of course, Dabi embodies the whole spectrum.

Also on a final, funnily enough note, blue is usually associated with voice communication and someone who needs order, and strives for perfection as well as tending to be the one to speak in public. It's idealistic and expresses a will to satisfy its higher needs - and by doing that it expresses devotion in these ideals. So if you think about how Dabi's character is focused on reforming society, and giving Stain's will freedom and realisation, Dabi comes full circle - with a devotion which makes him focused on his goals (Stain's will, reformation of society and the Endeavour' downfall) , the commitment to actual plan their perfect realisation, and the ability to achieve it through the right means (The Broadcast).

II.) Pure White

White. Integrity, purity, innocence. Mourning, for some cultures. In particular in Japan, it is used as a colour meaning death, and is used in funerals. Same as for Tomura, Dabi uses both White and Black to somehow mourn himself and his loss (Tenko for his family, Touya for the himself he leaves behind) and especially in his adulthood, the concealing of such a colour through pitch black, is not only an effort to hide his identity but also to express a refusal to be the same person. White represents a new beginning, a blank slate. And if we consider these two to be somehow related (because death is seen as not the end, but instead a new beginning) it is clear how this colour, has a relevance to this character. After Touya's death, and his white hair hidden - he becomes Dabi, who has no time to still appeal to the childish feeling of wanting to impress his father and instead throws himself onto a new chapter of his life, because the past he will always remember, has been burned.

Same as blue, white brings serenity and peace - and at the same time it represents coldness and emptiness. I think this somehow emphasises the change in colour from red to white, and the loss of believing in strength (read: Endeavour) instead leaving an empty space in his heart, filled with emotions which he cannot control. The loss of innocence and the acquisition of the fact that Touya will never be what his father wanted him to, and the acceptance of such a thing - further brings out the meaning of the colour blue. (As already stated before, white, in Dabi's case is of enormous relevance - because it amplifies its relation to blue.)

Finally, white brings forward independence and freedom - and it stands for perfection. And I think it's really ironic how white, is not only the colour he inherited from Rei - a cold stark white - but at the same time, Endeavour has tossed him aside for the same reason, and that is because in his eyes he could not be more 'wrong'. But when his hair settles into his ultimate colour of white, Touya also breaks free from his father's expectation (but does he, really?) to start instead a new chapter as Dabi. Hiding the mistake he thinks he is, an instead embraces the personality that has been thrown onto him.

White is also the symbol of truth - which is tied to the revelation that Dabi is Touya Todoroki, and his dyed black hair becomes white, again (revealing the truth of his persona).

II.I) Pitch Black

Just to be as precise as possible, I'm adding a tiny section on black, which can be summarised in two sentences: black is associated with mystery, sophistication, power and authority. It brings forward the symbol of darkness, rebellion and ultimately it stands as a synonym of death. It's a colour which, when considered in respect to white, stands for the struggle between right and wrong - good and evil. Dabi presents himself as someone mysterious, and he does not reveal his name until far down the line. But he is still a representation of power, in terms of quirk and his position both inside the LoV and the PFL. Furthermore, him covering up his hair colour with black, as already said, has to do with wanting to appear a villain more than it has to do with his identity. He wants to fade into background for a while, and then come from the darkness to sweep everyone away - covering himself in black so it sends a clear message to everyone looking at him: that he is dangerous, and that there is no escape from his evil.

III.) Daunting Purple

Now, this is a controversial section. When I first thought of Dabi, I associated him with blue more than anything else, because after all, even if purple is an ever-present colour, it is just a reminder of how dangerous his quirk is, and how his body does not fare well in the friction of his firepower and his constitution. However, I think it is still important to put things into perspective when it comes to Dabi.

It is not a surprise, that Purple comes about as a combination of Red and Blue. The eternal struggle - which comes forth into the most detrimental way possible, for him. The shade of this colour has different meanings (not surprisingly) but, as far as I am concerned, Dabi's is a 'darker purple' (which is the one we have figured in the pictures) and fulfils its duty to evoke sadness and gloom. This is just a constant reminder of his story, and also the why Dabi is not very big on concealing the scars: because he thinks of them as a fair punishment, and that they remind him constantly of what and when exactly things did go wrong. Purple is also a colour associated with royalty and people with authority. On this meaning, there might a controversial stake, because it would actually give a relevance (or positive connotation) to the colour, however, as already stated before - I think that the scars are not only a reminder for himself, but same as the conscious choice of wearing black, Dabi makes a conscious choice to reveal his burn marks and to stitch his skin with evident metal piercings. He is putting them in evidence for a reason, and I'd guess this is the same reason for why he sticks on wearing dark colours, and to due his hair black: Dabi's objective is to appear as a heartless villain, and usually the image of somehow badly injured and wearing dark clothes, as sad as this might be, projects the image of exactly someone you'd like to avoid on the street.

Purple is also the colour of 'Fall', with its fading light. I found this particularly poetic when it comes to Dabi, as Fall might as well be the eternal representation of his character, and the fact that instead Dabi's fire just grown bigger and bigger, hurting him even more in the process - is the total contrary of fading light. But on the other hand, the light of his own personality, and those emotions he keeps tucked away just tend to be fade, dwindle at every sign of possible emotional connection.

Purple promotes the balance between mind and emotions - between the spiritual and the physical world. The balance between Red (emotions) and Blue (mind), and to which Dabi is not accustomed, yet. Finally, purple - among others - is also a mourning colour (reminder that both White and Black are also mourning colours). And it also inspires mystery, which again the image Dabi likes to project about himself onto others.

IV.) Flourishing Red

Red is Dabi's curse and representation. The contrast to white, and also the exacerbation of Blue. Red is the colour that gets the blood going (or rather, in this case, 'The one that turns up the heat' and which contrasts the calming effects of Blue) and the one who expresses passion and strength (which is why Endeavour's personality colour is Red - it's not a case that Red is associated with violence, anger, blood, obsession of power and strength, danger and fiery passion).

Red is the colour which Touya denies, and that instead comes back to bite him back. Red is energising and full of spirit and passion - and the image of a young Touya, striving to get better and make his father proud comes to mind. It's prideful and full of power - the will of a child, and his enormous Quirk-power struggling to keep it in check. This is why, Red after a while fades to Blue - and burns even more than it used to. Passion felt too deep, the exploitation of power which brings destruction. An all clear sentence to actually see why Dabi ends up with denying the all-too-overwhelming presence of Red and its characteristics, opting instead for a more suited to him Blue, which is also highly contrasting to the pure anger and passion associated to Red. The fact that Touya's hair changes, is an indicator of how he negates his father's influence, but still insists on hanging on those feelings, because he cannot let go of them. A walking oxymoron.

Thank for staying all the way, and for reading.

P.S. The colour analysis featuring Izuku and Shigaraki are respectively linked.

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self-loving-vampire · 3 years

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Ultima VII: The Black Gate (1992)

Ultima 7 was pretty much my introduction to RPGs, and I could not have asked for a better pair of games to ignite a lifelong passion into that genre. There is a real reason why this is still considered one of the best RPGs ever made.

While Ultima 7 is often discussed as a singular entity, it is actually two separate full-length games with one expansion each. For this post I will focus on the first one, Ultima VII: The Black Gate, as well as its expansion: Forge of Virtue.

I recommend playing the game using Exult, which adds some quality of life features (such as a feeding hotkey and a “use all keys” hotkey) as well as the option to use higher quality audio packs, implement bug fixes, and change the font into something easier on the eyes.

Summary

The protagonist of the Ultima series is “the Avatar”, a blank slate isekai protagonist from our world who has previously travelled to the world of Britannia several times and saved it from many threats, also becoming the shining paragon of the virtues meant to guide its people.

In this game, you once again cross the portal to Britannia to save it from a new and mysterious extradimensional threat. As soon as you arrive, you immediately discover two things:

1- A violent ritualistic murder has just taken place.

2- There is suspicious new organization called “The Fellowship” gaining adherents throughout the land.

It is up to you to investigate these developments.

Freedom

In terms of freedom, the Black Gate has plenty overall but there are areas where it is not quite there.

Once you can manage to get the password to get out of the locked-down town of Trinsic you are free to go nearly anywhere in the game right away and have multiple means of transportation to accomplish this, such as moongates or ships.

And there are some very real rewards to exploring like this as well, such as various treasure caches and other interesting findings.

The world is actually very small by modern standards, especially when settlements occupy so much of it, but both the towns and the wilderness areas are dense with content.

Notably, the game also allows you to perform various activities. From stealing to making a honest living by baking bread (which is something you can do thanks to how interactive the environment is) or gathering eggs at a farm.

Where it falls short is in terms of having multiple possible solutions for quests. Generally there is only one correct option for how to complete them.

That said, there is a bad ending you might be able to find in addition to the canonical good ending.

Character Creation/Customization

This is one of the big minuses of the game. While you can select your name and gender (and with Exult also have a wider selection of portraits) that is about it for character creation.

All characters will start with the same stats and there are no character classes. You can develop your stats through training and specialize through your choice of equipment, but by the end of the Forge of Virtue expansion you will have maxed stats and the best weapon in the game (a sword) regardless, and you will definitely need to cast a few spells to progress the main quest as well.

This can make every playthrough feel much like the last, as there isn’t that much of a way to vary how your character develops or what abilities they’ll end up having. You will always be a master of absolutely everything in the end unless you go out of your way to avoid doing the Forge of Virtue expansion.

Story/Setting

While the game is a bit too obvious and heavy-handed about its villains, there are still many interesting storylines in the game that deal with mature subjects that remain relevant today, such as cults, drug abuse, workplace exploitation, and xenophobia.

However, the setting as a whole is greater than any individual storyline taking place within. With the exception of most guards and bandits, every single NPC in the game is an individual with a name, schedule, living space, and defined personality. This was not the norm in 1992 and even today there’s not many games that really implement this well. The world is also very detailed in terms of things like the services available to you, the general interactivity of the game world, and the sheer amount of things that populate every corner of it.

The initial murder is not only a strong hook for investigation but also a shocking scene in its own right. The Guardian also proves to have a significant presence as a villain, using a mental link to remotely taunt you based on the context of what is happening. For example, if your companions die he may offer you some exaggerated, mocking pity.

Immersion

There is something very interesting and comfortable about just watching the various inhabitants of a town just go about their daily lives. They work during the day, eat at certain times (either at home or at one of the many taverns in the land), and sleep at night. They don’t just strangely repeat one single action during the day either, they may do things like open windows when the weather is nice or turn candles and streetlamps on at night.

In terms of immersion, Ultima 7 is my primary example of a game that does an excellent job of it even if there’s some weirdness going on with the setting. Even after having played so many more games throughout my life, only a few are on the same level as either part of Ultima 7 when it comes to immersion.

Gameplay

There are three broad aspects to the gameplay here that I want to discuss.

The first is combat. It is actually simple enough that you can call it almost entirely automatic. You simply enable combat mode by pressing C and your party will automatically go and fight nearby hostile enemies based on whatever combat orders you have selected for them (by default, attacking the closest enemy).

This is certainly better than having an outright bad or annoying combat system as the whole process is simple and painless, but I still wish there was more depth to it. Your stats, and especially your equipment, still play a role but other than things like pausing to use items or cast spells the whole process is very uninvolved.

I kind of wish there was more depth to it, but at least the other two areas of the gameplay are reasonably good.

The next aspect of gameplay is dialogue, which uses dialogue trees for the first time in the series. Previously, it required typing in keywords, which are retained but as dialogue options you can just click on rather than remember and type.

While the keywords are not really written as natural language most of the time (requiring some imagination to determine the specifics of your dialogue), the system is very easy to use regardless. It definitely lacks depth compared to something like Fallout: New Vegas, but so do most games.

The third and most notable thing is the way you interact with the world in general. It is both extremely simple and very immersive at the same time.

Ultima 7 is a game that can be played entirely with the mouse (though keyboard hotkeys make everything much more comfortable). You can right click a space to walk there, you can left click something to identify what it is, and you can use double left click to interact.

For example, double left click over an NPC to talk to them (or attack them, if combat mode is enabled), double left click a door to open it, double left click a loaf of bread to feed it to someone, and so on.

But there is more. By holding your click over an item and dragging it, you can move it. This has various applications beyond just being how you pick things up and add them to your inventory. For example, sometimes objects may be hidden beneath other objects, or objects may need to be placed in a specific location.

There are some downsides to this system. Particularly, the issue that keeping your inventory organized can be time-consuming when it has to be done by manually dragging objects around, and this can also make looting relatively slow.

Despite this, I think this kind of interaction system has a lot of potential. It just has some clunky aspects to be ironed out.

Aesthetics

Ultima 7 was very good-looking for its time, and although modern players will not be very impressed by how it looks or sounds, it still remains easily legible in a way that some other old games are not. That, and the ability to identify anything with just a left click, makes this a very easy game to make out at the very least.

Some of the music of this game is very distinctive too, and will likely stay with you after a full playthrough.

In terms of style, the Black Gate does have a bit of an identity while still having a very familiar medieval fantasy setting with things like trolls, animated skeletons, dragons, and liches. While there are aspects that help the setting distinguish itself a bit, they are relatively subtle.

If I had to describe the feeling of playing this, I’d call it “open and laid back”. While the main quest deals with a looming threat to the entire world, the game does not follow this overly closely at first, letting you deal with it at your own pace and without having your exploration options limited by the story.

In fact, when I was young I often just ignored that and went to live in a creepy ruin in the swamp.

(Don’t expect many pictures in these reviews, but have one of my “childhood home.”)

I’d say that Ultima 7′s second part (Serpent Isle) has a much stronger and also darker and more isolating atmosphere overall and that has a lot of appeal to me in particular, but the Black Gate is definitely more open and less linear, and I also appreciate that.

Accessibility

It pleases me to say that Ultima 7 remains extremely easy to pick up and play. Even setting up Exult is not complicated in the least.

The gameplay is intuitive and simple, the UI is minimal, stats are basic (and not even that important), and the combat is automatic. I expect that this is not only the easiest point of entry into the Ultima series as a whole but also likely even easier to get into than many modern RPGs!

It does have some aspects that may be a bit clunky, like all the inventory-related dragging, but it’s definitely not obscure or complicated even to someone who has not read the manual (though I’d still recommend doing that). I literally played this game as a tiny child who could barely read or understand English and still got really into it.

The one thing I’d like to point out is that the game uses a type of copy protection where at a couple of story points (including an extremely early one to leave the first town) you will be asked some questions that require using the manual and external map to answer. You can just google the answers for these.

Conclusion

As I write more of these reviews there will be many games that are interesting, but deeply flawed. Games that are worth trying out but maybe not finishing, as well as games that had interesting ideas but that I can’t entirely recommend due to serious problems that will easily put people off.

But I do not think the Black Gate is such a game. I can easily recommend it with no qualifiers despite the fact that it is almost 30 years old. This is really a game that all RPG fans should at the very least try for a few hours, and not only for its historical significance. It is genuinely a good game worthy of its praise.

I will review its sequel, Ultima VII Part 2: Serpent Isle, next.

#vampire reviews rpgs #ultima 7 #the black gate

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britishassistant · 3 years

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The Villainous Paranoiac Goes To Jail and Ninja Afterlife

Two innocent children get sent to Night Raven College

A set of scenarios about three of my ocs unwittingly trading places for two days, non-canon to any of my AUs

Swap 1:

Yuu—> Konohagakure

Yuu wakes up with a tantō to the throat.

Chie: Tell me where my daughter is and I’ll make your death quick

Yuu promptly freaks the fuck out

Through a combination of panicked yelling and tears the Prefect manages to convey to the Ketsugi that if there was a kidnapping, Yuu is both uninvolved and as much as of a victim as their precious daughter

Gai confirms that the strange teenager not only has no chakra, but clearly has little to no combat training despite his(?) athleticism, meaning Mayu-chan could easily overpower an assailant of this size, especially one this undernourished!

Yuu tries not to be offended and to avoid staring at Gai and Lee’s eyebrows they’re so big

Promptly shrieks when Kami!Sanji materializes to confirm that the Paranoiac had nothing to do with Mayu’s disappearance as far as the other gods can tell

Yuu becomes convinced that this place is the afterlife

The sad part is that Chie and Jirou can’t actually say much to the contrary, because??? Their daughter remembers dying before she came here?? Also there are active deities just floating around so.

Actually tears up at the homemade meals the Ketsugi provide

Before being sick as a dog later because food infused with chakra? Does not agree with a person without a chakra regulatory system

Surprisingly patient with Lee and any questions he has the purity of Jack and Deuce is strong in this one

Bit more long-suffering towards Naruto and his rendition of Wonderwall. Sunshine child too bright, introvert Yuu can’t handle it

Keeps writing down everything everyone says

This makes ANBU and ROOT very twitchy

The Paranoiac is quietly slated for “interview” at T&I the next day

Yuu crashes on the Ketsugi couch none the wiser

Mayu—> Nanba

Mayu wakes up to confused screaming and profanity.

It’s Hani.

It’s very rare for screaming not to be because of Hani

All he knows is one child was in this bed last night, and now’s there’s a different one dressed like it came straight out of Ninja Kamikaze???

Mayu for her part is both very alarmed to be waking up in a prison cell with two strange men and very glad she has her bokken with her

Kiji comes in to find his beautiful inmates being menaced by a twelve year old with a wooden sword

The twelve year old is winning

Once Mayu has ascertained that they aren’t enemy ninja and she’s somehow in her old world (?) she becomes much more cooperative with the guards

She’s very worried about how she’s going to get back to her family in Konoha

Also wondering if she should try to contact her former little brother Harp (who knows if she’ll ever get the chance again?)

These worries are not assuaged when the Warden informs her that there’s no records proving “Tamara Kaur” ever existed

For lack of any relations who they can contact to take the child off their hands, and because they have no idea how she successfully infiltrated the most secure prison in the world and replaced one of the inmates, the Warden decides to keep Mayu in Nanba’s holding cells until further notice

Guess who finds the samurai child while breaking out?

Nico, Uno, and Rock are amazed at the existence of a real live Japanese Samurai! With a katana and everything!!

Jyugo just asks straight out if Mayu’s an actor too

Mayu is very bemused by everything, but they seem friendly! The one with the mohawk likes food too!

Plus the blonde one is British! Just like she used to be!

Uno is very confused about how a twelve year old somehow lost her citizenship

Break Mayu out to get food together

They get caught the moment they set foot in the cafeteria and scolded very harshly

Mayu has trouble sleeping in a cell cot that night

Nana—> Night Raven College

Nana’s first instinct on waking up in a strange bed next to a monster is to assume he’s been kidnapped and attempt to subdue his captors

Which means Grim wakes up to an attempted smothering

The ghosts hear muffled screaming and rush in only to get salt and iron filings to the face. Nana actually has them all on the run when Crowley bursts in

Instantly becomes a confused and lost child in front of the headmaster and dorm heads

Only Grim and the ghosts know the truth, and their complaints are overlooked due to them “scaring the poor boy”

No one has any idea what to do with a thirteen year old magicless kid. It was hard enough with Yuu, and the Prefect was at least sixteen and could attend classes!

Nana adapts quickly to the idea of being in this new world— he’s just sad he couldn’t say goodbye to Kiji, Hani-senpai and Trois-senpai before leaving Nanba

Immediately resolves to leave NRC at the earliest possible convenience when he gets a good look at the Theory Wall— he can’t even read Japanese but that amount of crazy that it signifies always spells trouble

Is confused by all the pictures of Disney villains on the Theory Wall, but decides it’s not worth the trouble to ask about

Actually uses the beauty products Vil left for Yuu correctly

Gets semi-adopted into Pomefiore after asking Vil where the high quality products came from

Grim and the ghosts aren’t sorry to see the little brat go

Vil carts him around to test his potential in the performance arts

Epel tries to be a good senpai for the kid, and tells him he doesn’t have to just go along with Vil

Nana appreciates the effort, but does find this kind of thing more fun than being on his own he’s homesick for his cell

Rook enjoys seeing the child freeze up minutely whenever he asks about the prison attire and the large “7” tattoo on the back of the boy’s head

Nana likes Rook less and less with every pointed question the vice dorm leader makes

Can’t sleep in the big cushy Pomefiore bed and so curls up on the floor with a pillow instead

Swap 2:

Yuu—> Nanba

What why is Yuu in jail now

The prefect was supposed to be back home/in Ramshackle Dorm, why is Yuu in jail now—

Yuu is stressed and overdue for Grim snuggles

Paranoiac is also not thrilled about being stuck in Building Three— it’s like Pomefiore on steroids

At least Epel and Vil don’t steal and obsess over the underwear of their “fans”

Rook...the jury’s still out. But probably not. Probably

Maybe

Hopefully

Much less cooperative than Mayu.

Questions about the Prefect’s family name are met with a stony glare. “It’s Yuu. Just Yuu. How many times do I have to repeat myself?”

Can’t answer any questions about Mayu or her current whereabouts despite admitting to knowing of the girl, but does posit a theory about the three of them transmigrating and swapping places based on the information gained in Konoha

Gets offended and even less cooperative when the interrogating guard calls the hypothesis “crazy”

Not intimidated by Hajime or the other guards in the slightest. Yuu’s classmates are far more likely to inflict lasting bodily harm and it’s hard for even the worst human glare to measure up to Floyd or Leona on a bad day

The Warden scares the Prefect though

Doesn’t stop Yuu from requesting a lawyer or other legal counsel before submitting to further questioning

The Paranoiac is a Japanese citizen and has made a point to know what the applicable legal rights for this situation are

Yuu ends up in the holding cells

Guess who hasn’t learned their lesson while breaking out?

Uno takes one look at Yuu

“Ah Jyugo, this one has your energy”

Nico loudly asks if the Prefect is from an isekai and died and reincarnated in Nanba??! Do they die over and over again and revive to beat bad guys?? Do they have an amazing cheat skill?? Are they a spider?? Can they shoot a beam??

Yuu just thinks. Ah. So this is what would happen if Kalim and Idia somehow had a kid

Don’t break the Prefect out, but Jyugo comes back later and deposits something through the bars

“This is Kuu. He’s a guard, but he’s also really good when you’re lonely. You look like you could use the company”

Yuu blinks and holds out a hand for the black cat with a guard cap to sniff

Crashing in a cell cot is uncomfortable, but hey, at least there’s a cat to pet

Mayu—> Night Raven College

Why is there a tanuki in her bed?

Grim isn’t waking up by being murdered but being poked with a stick by another smol child isn’t much better

Mayu is Concerned by the Theory Wall

“Is— is the person who lives here okay?”

Grim: Hell if I know

Mayu’s even more Concerned when she opens the fridge and sees it’s bare

>:|

Sanji wouldn’t let these people go hungry, so she’s not going to either!

Searches until she finds the Prefect’s grocery money and marches with Grim to Mr. S’s Mystery Shop

Everyone is confused by the presence of a new preteen on campus after the last one vanished from Pomefiore during the night

Mayu’s used to haggling with market people who would rather see her starve than even sell her the worst of their produce, so she’s easily able to barter Sam down to a third of the price for the groceries she wants to buy

Sam’s more amused by the guts of this tiny samurai devil than anything

Mayu and Grim drag all the food back by themselves with a few students following from a distance out of curiosity

They all soon enter Ramshackle once the smells of cooking begin to emerge from the dorm

Silver first followed because the child has a sword and is now helping to knead dough

Epel arrived because he had questions about where Nana had gone, but Mayu is genuinely clueless so now he’s peeling apples for lack of anything better to do

Mayu soon has several “helpers” for making bread and other easy-to-preserve and mix-and-match bulk meals to fill the Ramshackle fridge, though she soon has to send Grim out for more ingredients when her helpers begin getting hungry

The night ends with a feast that can rival the quality of food served at Kalim’s parties

Mayu finds one of Yuu’s blank notebooks and writes down some easy recipes the Prefect can use for all the food now in the fridge and pantry, with emphasis on fish based dishes

The ghosts and Grim enjoy having Mayu much more than Nana

Mayu still has trouble sleeping in the big Ramshackle bed that night

Nana—> Konohagakure

Well this isn’t Nanba or Night Raven College

Welp. Time to go then.

Nana is halfway out of Konoha before anyone notices

Gai does notice because a strange kid in a prison jumpsuit swiftly scurrying to the exit sticks out like a sore thumb in the early morning

ANBU’s search for the vanished Yuu is the only reason Nana isn’t stopped by them

Nana tries to run

Nothing can outrun the Beautiful Green Beast of Konoha

Nana is now more than slightly traumatized

Gets carted off to early morning training with Naruto and Lee

Is initially more interested in plotting yet another escape attempt until Lee mentions Yuu and NRC—then he’s curious about what information he can glean about the two other members of this triad

Especially interested in the concept of reincarnating into another world or being brought there by an outside force rather than moving between worlds freely

Eats an almost alarming amount for his size at breakfast that morning and leaves nothing on his plate

Unfailingly well-mannered to his hosts

Offers more information about Mayu’s past world in payment for eating the Ketsugi’s food and waking up in their home after they refuse to let him pay them back using manual labor

Asks them to tell him what they already know so he can work out what knowledge gaps to fill in

Nana: ...Why are you singing Wonderwall?

Takes it upon himself to teach Lee and Naruto more English so they can at least form basic sentences

It’s an uphill battle because predicates and participles are hard

A supportive and encouraging if slightly inept teacher

Soon realizes Chie somehow knows all the swearwords and glares at him for trying to teach them to the boys

Also falls ill from eating chakra-infested food

Gets twitchier as the day goes on and asks to leave the village several times, insisting he can’t impose on their hospitality any longer

Only agrees to sleep on the couch once Jirou subtly implies that at least people will notice and go looking if he goes missing from their house compared to if he disappeared from a tree miles away from Konoha

Can’t sleep on the couch due to jumping at noises during the night, ends up curling up on the floor next to it

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whentheynameyoujoy · 3 years

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Women in SPN—Seasons 2 and 3

Previously on Joy Obsesses over a Show That Creatively Expired in 2010

Tessa

Introduced back when the Winchesters dodging the coffin actually qualified as an episode, she follows in Meg’s tracks by continuing to make monsters seem more approachable and less a malevolent force of nature. Starts off with a completely flat affect but gets annoyed with the Winchester bullshit real quick—a sure-fire sign of an SPN character with a brain. A powerful being capable of returning one’s memories by a smooch which is… convenient. As is the fact that bad guys keep using her for their ebul plans. Serves the typical secondary-character function of a springboard for a main guy’s development. Plants hints of the “natural order”, “destiny”, and “inevitability” which will become major themes down the road and be explored by characters with deeper writing.

Status: Alive as of s5

Importance: Minor, remembered primarily because she keeps popping up.

On her own: A nice addition to the lore.

Jo Harvelle

Originally Dean’s love interest until she got written out for the crime of having tits around the fandom’s husband. Driven by a wish to honor her dead father and become a hunter, she’s held back by the unfortunate fact of not being all that good at it. Cheerful, temperamental, and a pretty skilled hustler, she’s mortally wounded when charging in to protect Dean. Ends up sacrificing herself so that others can escape and attempt to end the Apocalypse.

Status: Dead as of s5, dragged back and disappeared again in s7

Importance: Major

On her own: A soldier going out in a blaze of glory. I bawl every time.

Ellen Harvelle

Unlike her daughter, very good at what she does. No-nonsense authority figure, she’s one of the few in the show to pull off a combination of a hand-wringing mama bear and a pro-active badass with a life outside her family. Not perceived as a threat because fans don’t know the meaning of MILF yet, and so is allowed to stick around for the season 2 finale. Dies to make Jo’s plan to obliterate Meg’s hellhounds work, though it’s strongly implied she mostly refuses to survive her kid.

Status: Dead

Importance: Major

On her own: SPN’s Molly Weasley, sullied by the implications of her death

Lenore

A head-strong leader of a nest of vegetarian vampires, she’s deliberately contrasted with Gordon’s Terminator schtick and to a lesser degree with Dean’s black-and-white monsters vs. humans kill-everything grief-cope in order to further cement SPN’s ongoing crusade of challenging who in fact is the monster around here. Has a crowning moment of awesome when she refuses to feed while covered in Sam’s blood. The entire point of her is her determination not to give up her humanity even when no longer human. Would be shame if the show decided to later abandon this essential part of her character and twist it for cheap drama…

Status: Alive as of s5, annihilated in every way in s6

Importance: Minor in the overall narrative, major in the episode and the boys’ development

On her own: An effective mirror to Dean’s stroll down the slippery slope

Diana Ballard

TheGoodCop manipulated by her professional and romantic partner, she has a surprisingly functional tension with Sam. Luckily for Linda Blair it goes unnoticed because the fandom doesn’t view older women as competition. Noteworthy mostly because she actively participates in uncovering the episode’s mystery which automatically elevates her above the standard clueless civilian, man or woman, who needs the duo to save them. Despite fewer appearances arguably more memorable than Henriksen, precisely because of her active involvement.

Status: Alive as of s5

Importance: Minor overall, a major player in the episode

On her own: Interesting take on the usual boilerplate cop

Ava Wilson

To present a very, very generous interpretation, she foreshadows Sam’s eventual turn to the dark side. Spirited, a little bit airheaded, and freaked about her Azazel-given powers, she gives enough of a damn to prevent her visions of people dying from coming true, though she clings to her intention to lead a normal civilian life. Does a complete switcheroo off-screen to become a villain because… power is awesome? Ends up the most advanced special child in season 2’s battle royale, the very concept of which is just… eh? Still gets dispatched no problem because… why not?

Status: Dead

Importance: Minor

On her own: A prime example of why the special children subplot is just…wot?

Molly McNamara

Memorable primarily because of the experimental (for SPN) narration which frames her as the duo’s partner when in fact she’s one of the things being hunted. For plot reasons spends her episode switching between being terrified, worried for her missing husband, and heartbroken. Can be somewhat tortuously argued to fit the theme of (not) overcoming grief and letting go, one of the few detectable threads in the directionless slog that’s season 2.

Status: Dead

Importance: Minor overall, major because she’s arguably the main character of her episode

On her own: Torture porny. Very torture porny.

Madison

Intelligent, educated, and with an endearing love of soaps, she’s responsible for one of the three watchable sex scenes in the entire show. Has a nice theme of personal growth and healing from trauma going on, although it’s cut short and undermined when she’s revealed as a werewolf and euthanized by none other than Sam himself. Her death is filmed as a narrative-changing tragedy before it goes on to become a joke in season 4.

Status: Dead

Importance: Major

On her own: No matter how you look at it, she’s a diseased dog that needs to be put down for her own good while the menz wallow in their manly manpain. A rare example of a storyline I don’t think can be tweaked to be even marginally less awful.

I believe maestro may have wanted to portray sadness here.

Tamara

Told to be an excellent hunter, she’s shown as needing to be saved in order not to end up like her husband who’s literally forced to gargle bleach. Introduces the notion of growing hostility against the Winchesters in the hunting community. Full of wrath to fit the episode’s one-off seven deadly sins schtick, she’s emphasized as emotional and not in control of herself to such a degree that it overshadows how she’s in fact fairly competent in the second half of the episode.

Status: Alive as of s5

Importance: Minor

On her own: Wouldn’t stand out this much if she weren’t one of the few POCs in the blinding whiteness that’s SPN’s Americana.

Ruby

Doesn’t have the most organic introduction (A cool intriguing sexy French fries loving not like other gurls sassy badass, with a superdooper special knife? How 2000s cringe can you get?) but quickly becomes one of the show’s most distinctive villains allies. She’s an ally. Totally. Don’t worry about it. A sarcastic smartass jerk who breathes lies and manipulation, she’s resourceful, thinks on her feet, and throws herself into the thick of action without hesitation—a trait that gets especially interesting in retrospect as it suggests a fanatic devotion to her real goal. Sadly, her motivation doesn’t get fleshed out beyond “she really likes Satan, I guess” (which, hey) as the writers prioritize the surprise of the revelation over her further character development. Has the second watchable sex scene in the entire show; the fandom weeps itself to sleep. Gets killed by her own weapon when the writers decide that a character who’s smarter than both protagonists combined could well do with a bit of the good ol’ lobotomizing.

Status: Dead

Importance: Supermegadoublemajor

On her own: The stupid nature of her demise and occasional wooden acting do their best but never overshadow the awesome that’s Ruby.

Lisa Braeden

Dean’s past fling who becomes a living symbol of his desire for the white-picket fence. Is implied to possess mad financial skills as she owns property on a yoga teacher’s salary while a single mom below the age of 30. A blank slate the likes of Cassie, she’s salvaged by better acting. Frequent frowning suggests the presence of an inner life though it doesn’t tend to manifest itself on screen or affect the plot. Her single established trait—blow-out assertiveness the moment things get too far—is exercised mostly in service to her son. Exists solely to give Dean something to pine for.

Status: Alive as of s5

Importance: Major

On her own: A tertiary character who so-so sustains her own episode.

Bela Talbot

The best expansion of the show’s lore after the host of heaven, she’s unequivocally a bad person who nevertheless evokes huge amounts of sympathy. A cynical self-serving dealer in supernatural objects who mirrors Dean’s cracking tough guy persona, due to her abuse and the resulting trauma she refuses to open up and rely on anyone out of principle, or be indebted to them. Her pride makes her clinically unable to ask for help until it’s too late, and even forego mentioning personal history when it’d actively benefit her by softening the horrible impression others have of her. Switching between being an antagonist and the duo’s reluctant ally, she manages to outwit them roughly 90% of time. The fact that she has sexual tension with Dean while Sam lusts after her to the point of literal drooling sends fans apoplectic.

Status: Dead

Importance: Major

On her own: A complex character brought down by her own flaws.

Casey

A demon, she’s torn between wanting to enact the Apocalypse and just chilling with her soulmate. Definitely a fanfic reader because her idea of dealing with danger is to shut herself with her enemy in a room and have a lengthy theological debate. Very outspoken about humanity’s propensity for evil. Outcomplexes Lilith and to a lesser extent Ruby as she’s allowed to openly address her life philosophy. While the dialogue format of her scenes is designed to give Dean space to talk about his feelings regarding his impending demise, it’s more or less an equal push-pull exchange. She’s smart, captivating, capable, and in love, i.e. things SPN just isn’t interested in keeping around.

Status: Dead

Importance: Minor in the overall narrative, major in the episode and Dean’s development

On her own: Could have been so good if allowed to stick around

Gertrude Case

A rich elderly creep whose gropy ways are played for laughs because she’s a woman I guess. Either can’t read social cues or doesn’t give a fuck about people’s obvious discomfort. But don’t worry, it’s hilarious. She’s a woman, you see. What harm have those ever done.

Status: I’m going to assume dead by now, otherwise alive as of s5

Importance: A major figure in Sam’s life since she sexually assaulted him. Otherwise minor.

On her own: Sexual harassment is fun, kids

Lucy

Take Molly McNamara, strip her of any pretence at thematic relevance, minimize her importance while playing up her suffering, and then remove her like a broken Christmas decoration while making sassy remarks—voilà, you’ve ended up with the exact simplistic image that pops into one’s head when the words Supernatural and women are mentioned in a sentence.

Status: Dead

Importance: Non-existent

On her own: Just… why

Astaroth

Approaches awesomehood as her demonic business operation is built around preying on bored suburban hausfraus and taking their souls in exchange for magical powers, which they then use to secure benign materialistic keeping-up-with-the-joneses crap and devour one another like a bunch of assholes whose death you can’t help but eagerly anticipate. Srsly, eff those ladies. Stands out as the only (implied) lesbian in the Kripke arc.

Status: Dead

Importance: Minor, not even the real monster of the week when compared to the coven

On her own: There’s probably another discussion about Doylist sexism hidden around somewhere that I’m not really interested in having. Go Astaroth.

Nancy Fitzgerald

Sugar and spice and every other cliché about kindness combined in a pretty sweet package. Plot demands her to be a virgin for some reason, even though this aspect of her character doesn’t amount to anything in the story and only serves to contrast Nancy’s… purity with Ruby who we’re being constantly told is a “slut” and a “whore” and I have no idea how that’s supposed to work. Then again, Nancy’s virginity is framed as a valid personal choice in a rather empowering moment so that’s good. Has standards because even after deciding to let go of her chastity vow, she won’t settle for just any loser who happens to stand around converting oxygen into CO2. Her “cause manpain out of nowhere”-type death is one of the few of this category in the show which actually work because the cruel pointless nature of it is precisely the point (and at least she’s not the only one who doesn’t survive, please ignore how the episode literally says her demise is the most tragic because she never got laid, barfs).

Status: Dead

Importance: Minor

On their own: A textbook definition of a cinnamon

Lilith

An overarching menace that doesn’t spend too much time on screen, she’s a prop rather than her own person. This gets highlighted the moment the show stops casting her as a clichéd creepy child who likes to larp as that Twilight Zone kid, and turns her into the standard hawt chick in a will-they-won’t-they episode. No interiority as she goes along with a plan which requires her obliteration, without at least allowing her to explore her religious motivation. Ruby does all the heavy lifting in this partnership.

Status: Dead

Importance: Major

On her own: For the life of me I can’t make sense of her actions in s4. But the clichéd creepy kid is adorbs so points for memorability.

Maggie Zeddmore

The straight man to the Ghostfacers’ utterly delightful douchefacery. Manages to keep up with Harry and Ed in terms of hilarity because not only is she exactly as out of place as them, she decides to role-play her childhood-friends-to-lovers fanfic in the middle of a haunted house as the best sister that she is.

Status: Alive as of s5

Importance: Minor

On her own: Love at first geek

Next, season 4 and 5 before I try to figure out what this all adds up to.

#spn #spn critical #supernatural #supernatural critical #sexist writing #tessa #jo harvelle #ellen harvelle #madison #ruby #bela talbot #lisa braeden #nancy fitzgerald #lilith

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ieatmypizzawithaforkandknife · 3 years

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TMA: Episode 13, “Alone”

Summary: Naomi Herne dictates her statement regarding “the events following the funeral of my fiancé, Evan Lukas.”

Our first in-person statement! So exciting! Not as exciting as the ones towards the end of this season for sure, but it makes sense to introduce the idea prior to them being necessary, and it was a nice change of pace.

That being said, I really didn’t like the voice actor in this one. There were a few moments that felt stilted or where it felt like she was over-acting, and it bugged me. At the beginning of the series, I didn’t like how Jonathan seemed to be speaking dramatically on purpose, and my annoyance here was for similar reasons. Since I’m more or less neutral towards the character herself, I’m kind of glad this was her only episode this season, and I’m hoping she’s not in future seasons either.

Because this was recorded “live”, we finally get confirmation of how the in-universe date relates to the real-life date. Naomi gives the date as January 13th, 2016, and this episode was aired on April 20th, 2016. It’s close, which is nice, but not exact, which would have been cooler IMO, but it makes sense that they might not have known the air date when they recorded it. It doesn’t throw any huge wrenches into the timeline I have going though, which is all I care about in the end.

First off, it’s a little suspicious how quickly she goes head over heels for Evan. They meet while waiting for a job interview, and when he had to go in to the interview, she “felt a pang of loss like nothing I’d known before, all for a stranger who I’d met barely ten minutes ago”? When she was always pretty content on her own in life? On its own, I could chalk it up to an extreme loneliness that she’d underestimated or was in denial about. But she says that “he was so unlike anyone I had ever met before”, and his family was some of the creepiest people in any of these stories yet that weren’t explicitly monsters. I don’t know whether the family isn’t human or if it’s something else, but there’s definitely something not right about them, and I’m really expecting them to show up again at some point.

Naomi never gives us any real impression of Evan’s personality either. She talks about him enough at the beginning of the episode that by the end of her rambling we should have had some kind of idea of who he is, but all that we really know is that he seemed perfect for her. It’s like he’s this blank slate, and whatever she needed, he was. (For any Animorphs fans who might be reading this, her starry-eyed description of their relationship reminded me a lot of the way Peter describes the last year or so of his marriage before Eva “died” in book 10. So you can understand my concern.) Their relationship is too perfect and harmonious. It’s not real. And when she conveniently decides not to contact any of his friends after he died? The paranoid part of me wonders how real any of it was.

It is interesting that the reason he gives for his apparent schism with his family is religion - specifically, that they were religious and he wasn’t. In and of itself this is normal enough - a common occurrence, even. But I am officially suspicious any time religion (especially Christianity or Christian-coded religion) is mentioned in these statements. Naomi mentions towards the beginning of her statement something that a pastor told her about humans being “creatures of community by nature”. This same pastor told her he was “worried I’d get lost” - which, if you recall, is exactly what almost happened in that foggy field after she crashed her car. She was lost for a time, and, we’re led to believe, was almost lost forever.

She describes the mist in the field as seeming malicious, and that it made her feel “utterly forsaken”, and although she didn’t think there was any particular presence in it, it seemed to swirl around her deliberately and eventually tried to pull her into an open grave. But Jonathan says at the end that there couldn’t have been any fog where she was, “given the incredibly high winds during the storm that night.” And he couldn’t find any graveyard/chapel matching the description she gave anywhere in the area. So where was she, and how did she get there? And who or what was controlling that mist? The field, the mist, the chapel, and the graveyard are all obviously Not Quite Right, but then again neither was the Lukas family earlier that night. So when and what was her first supernatural interaction that night?

I think it’s obvious by now that I don’t like the Lukas family at all and I think they’re up to no good. But it’s worth noting that Evan apparently somehow helped Naomi out of that mist (despite being dead) by his disembodied voice telling her to turn left. It was a small thing, but without that direction she might never have gotten out. So is he really not evil like I got the impression the rest of his family is?

On a completely unrelated note...someone needs to talk to Jonathan about his bedside manner. Between his condescending tone and him telling her to her face that she should probably see a shrink, I’m only surprised that she didn’t storm out on him sooner. Whose bright idea was it to let this guy interact with the public? I love him but he is not a people person at all lol.

Fortunately, before she left, Jonathan asked her to leave the broken piece of stone from the graveyard with them - although I wonder if anyone even gave it a second glance after that, or if it was just shoved into a corner somewhere and itself forgotten. The word “FORGOTTEN” on the stone was of course supposed to be creepy to us the listeners, and is almost certainly some kind of clue in the bigger mystery, but as someone who has come to frequent cemeteries (as part of an interest in genealogy, not with any involvement in the supernatural, thank you very much), it was probably just the end of a very common phrase on headstones: “GONE BUT NOT FORGOTTEN.” Which is, ironically, the exact opposite in meaning to “FORGOTTEN.”

One last thing. This is either a complete coincidence, or a very big clue, and I can’t decide which. In episode 11, “Antonio Blake” first sees his father in one of his “death dreams” 10 days before his father actually dies. In that same statement, “Antonio” says that he first saw Gertrude Robinson in a “death dream” on March 12th, 2015. Evan Lukas died on March 22nd, 2015 - exactly 10 days after “Antonio” first saw Gertrude Robinson in one of those dreams. I have no idea how the deaths of Evan Lukas and Gertrude Robinson could possibly be related, but the timing is a little too perfect for me to dismiss it out of hand.

This post is part of a series where I write my thoughts about each episode and obsessively connect dots in an effort to figure out The Big Mysteries of the series. All posts in this series are tagged “is this liveblogging?” Comments and messages are welcome but I have only listened to season 1, so I ask that you not spoil me for anything beyond episode 40. In the words of Jonny Sims…thanks for listening!

#personal #liveblogging #is this liveblogging?#The Magnus Archives

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joseshin · 4 years

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CATS: 1998 vs 2019

Alright, going to do this already. Note: these are my personal opinions. Intelligent rebuttals will be considered and replied to, anything else may likely be ignored. Also spoilers, and LONG. So onward to a comparison of the 2019 movie against the 1998 filmed stage version.

Edit before posting: Apparently I never queued this. I feel a little silly now

Plot/Framing: The use of an abandoned Victoria to frame the introduction of the plot of the Jellicle Ball and Munkustrap acting as narrator/guide to Victoria is a decent idea, and one that worked fairly well. Granted, when you take a book of poems and turn them into songs, it’s a little hard to create plot for a musical, but inspiration comes from everywhere. Victoria is a pretty blank slate for directors to work with, so having her be the framing vehicle is a really good idea. She’s the white cat, the dancer, doesn’t have any specific lines of dialogue or song attached originally.

I think that Munkustrap didn’t have enough presence in the movie. He’s the primary narrator, he needs to be someone we want to pay attention to, not just because he’s the one who happens to be singing or speaking at the moment. Maybe it’s a difference in how the two versions were filmed, and the focus was a little more on Victoria as our window into the world of Jellicle Cats, but I didn’t catch myself looking for him, or even noticing him in some shots, and you want your main source of information to be someone/thing you’re aware of, if only to see the mood of the scene.

“Jellicle Songs for Jellicle Cats” and “The Naming of Cats”: I thought the pacing was a touch fast, but I can understand trying to get all the material of the musical to fit into a film. Same with the cut lines here, and it did flow very well for the most part.

Having each cat introduce themselves via their song, and thus their entry into the competition for the Jellicle Choice, is interesting, and it does give a reason for not doing either the songs “The Awefull Battle of the Pekes and the Pollicles,” or “Growltiger's Last Stand,” as they are the Jellicles entertaining each other in “play within a play” scenes. It also gives Growltiger a reason to be a villian/henchman of Macavity’s, by using a snippet of his song during one of the capture sequences.

“The Old Gumbie Cat”: I was not happy. Rebel Wilson is an amazing singer and actress, and I was very much looking forward to her interpretation of Jennyanydots. What I saw was a petulant, whiny brat, instead of the example of Edwardian do-gooder. Also, the mouse costumes were ridiculously bad, and the replication of the cockroaches was just showing off CGI work for no real effect.

“The Rum Tum Tugger”: No. Why would you use this version, it’s a trainwreck? And the music choice made no sense! Jazz by itself would have been fine, but as far as the hip-hop/rap elements go? Are we trying to make the timeframe screwy? I miss the rockstar Tugger.

“Grizabella: The Glamour Cat”: Alright, Jennifer Hudson is amazing. That said, I don’t think she made sense as a casting choice. Grizabella is older, she’s past her prime and her singing should have more of that age and grit to it that shows her experience. If you’re going to use someone younger, at least put some convincing age makeup on her, and choose a singer who has a huskier tone.

“Bustopher Jones”: James Cordon did a very good job to make this about more than a cat who eats his way through life, though I’m not sure about his scavenging through the trash. He’s supposed to get huge amounts from the gentlemen’s clubs he attends, I would have thought the proper attitude of “the St. James’ Street cat” would not allow for his digging in the garbage. And the sensitivity about his weight was stupid.

“Mungojerrie and Rumpleteazer”: Perfect. The mischief makers in their element, and Victoria having to deal with the fact that they can be not nice cats, it works.

“Old Deuteronomy”: Judi Dench was an interesting choice for the role, but it works. There are some slight differences that come with having a matriarch for the Jellicle tribe instead of a patriarch, and they were handled with grace. It also is a way to give Dame Dench a role in Cats that fits her experience, since her injury during the rehearsals for the original London opening meant her planned dual roles didn’t happen.

“The Jellicle Ball”: The dancing was nice, and I liked the way several other cats became more than faces in the crowd during it.

“Memory(Prelude)”: Again, I just don’t think Jennifer Hudson has the age for this to work. Beautiful rendition though.

“Beautiful Ghosts”: A Victoria solo. Huh. It makes sense, given that Victoria is the primary viewpoint character in this version, for her to have something of her own. And it’s a pretty little song.

“The Moments of Happiness”: It doesn’t have quite the impact it should, since the only real witness to Deuteronomy is Victoria here. It works better when the entire clan is being given this lesson, even if most of them don’t understand it yet.

“Gus: The Theatre Cat”: Ian McKellan, ladies and gents, in a role that suits his age and expertise? I almost don’t miss Jellylorum. Also the lead up to it, with him giving some words of wisdom to a fellow performer? Yes, and yes!

“Skimbleshanks: The Railway Cat”: The vocals and dancing went very well, but I kept getting distracted by the costume. What’s up with that facial hair and the suspenders? Also, the way the scenery shifted during this song where it never had with any other Jellicle performance. More questions than answers here.

“Macavity: The Mystery Cat”: Hoo boy. Where to begin? Making Bombalurina one of Macavity’s cronies sits a little funny with me, but I understand the logistics behind the choice. The one place though, the one place that lyrics should absolutely have been changed in the entire show and you MISSED IT!?!?!?!? Idris Elba is not a ginger cat, there is no way to make him a ginger cat, and you didn’t try to make him a ginger cat, so why does the song define him as one? You couldn’t try, I don’t know: “Macavity’s a midnight cat/ He’s very tall and trim”?? Instead, you call him ginger, and thin. Ugh. Also, as much as I love to watch Elba, a lot of the threat of Macavity in the musical comes from the fact that this is the first time he’s been openly on stage, and not just a shadowed figure hiding along the fringe. Using Macavity often earlier in the movie, having him spirit away the other competitors for the Jellicle choice so obviously, damps down on that. Shadows crank up anticipation better than overt threats most of the time. The stage version creates a scarier Macavity, though I’m sorry to say it.

The use of catnip is kind of hilarious as a drug, though I’m a little sad there was no fight between Munkustrap and Macavity, and that the Jellicles all came under Macavity’s power so easily. Little annoyed that Griddlebone and Bombalurina seem to just melt away after the song, but understanding not wanting to use T Swift for “lesser” plot type issues.

“Magical Mr. Mistoffelees”: Mistoffelees is adorable here. This show is as much him coming into his powers and abilities as it is introducing Victoria to what it means to be a Jellicle. His attempts, as he tries again and again to bring back Deuteronomy, are laced with just enough desperation that he’s trying his hardest without making it overacting. The final success, when he’s sure he’s failed utterly, is so very sweet.

“Memory”: Same critique as before. The thing about Grizabella’s songs is that they are reminiscing. Looking back on a more golden youth. Crying for understanding that those without experience in the shades of gray life throws at you won’t have. It’s significant that Victoria (or Jemima, depending on the rendition) reach out to her, but Deuteronomy is the only one who has no problem with her, even from the get-go. You need someone with either a hell of a shitstorm life experience, or just plain experience to get that.

“The Journey to the Heavyside Layer”: I liked the transition of the broken chandelier into a balloon carrying away Grizabella. Little confused at Macavity’s loss of power, but okay.

“The Ad-dressing of Cats”: Deuteronomy addressing the crowd certainly brings the magical nature of cats to the fore, leaving the audience wondering how long she and the rest of the Jellicles have been aware of our view into their world. I liked how when she was describing the food gifts a person can give to their cat, all of those surrounding her got excited.

Costuming: Just bodysuits and CGI ears, tails, and whiskers do not turn people into convincing cats. The giant wigs of the stage show, while an 80′s throwback to the extreme, also change the profile of the face to better mimic a feline skull. I get it, having that poof would have been annoying with having to deal with the CGI ears, having to compensate for every fur twitch, but still! Also, nobody’s fur had any significant fluff amount to it whatsoever, it was all extra elements, like the coats and other accessories, but you could have used the legwarmers and armwarmers of the stage show give a better illusion of volume to fur. Having everyone be sleek shorthairs is boring. To my mind, the makeup was not convincing enough either.

Final thoughts: The movie version was okay, casting choices were decent for the most part, but I have to say that all together, I prefer the 1998 version. It could also be that the actors for the filmed stage version had been doing these roles for some time and it shows, especially in movements. Don’t get me wrong, the movie actors are good at their jobs, but there’s a difference in living a role for months or perhaps years during a stage run, tweaking things each performance, research and changing your approach, and making a movie, trying things only to have to move on to the next shot.

#CATS #cats the musical #CATS 2019 #CATS 1998 #movie review #movie critique #i forgot this was in my drafts

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mediaeval-muse · 4 years

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Book Review

The Night Circus. By Erin Morgenstern. New York: Doubleday, 2011.

Rating: 4/5 stars

Genre: fantasy

Part of a Series? No

Summary: The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night. But behind the scenes, a fierce competition is underway—a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them, this is a game in which only one can be left standing, and the circus is but the stage for a remarkable battle of imagination and will. Despite themselves, however, Celia and Marco tumble headfirst into love—a deep, magical love that makes the lights flicker and the room grow warm whenever they so much as brush hands. True love or not, the game must play out, and the fates of everyone involved, from the cast of extraordinary circus performers to the patrons, hang in the balance, suspended as precariously as the daring acrobats overhead.

***Full review under the cut.***

Overview: If a book is fairly popular, it’s more likely than not that I’ll end up reading it years after the hype dies down, and this is precisely what happened with The Night Circus. I’ve had a copy on my shelves for years, but I decided to finally pick it up after making my way through a string of non-fiction books. I really enjoyed the atmosphere Morgenstern creates, especially the dreamlike quality that her prose evokes. But while most of the fairy tale elements worked for me, I do wish she had dome more by way of characterization for the two main protagonists and plot. Even so, this book was memorable, and so it earns a 4 star rating from me.

Writing: Morgenstern’s prose has a dreamlike quality to it. The entire novel is written in the present tense, which I usually dislike, but in this case, it felt appropriate; present tense, for me, tends to keep the story at arm’s length, but for something like The Night Circus, that uncanny distance actually enhances the feeling that the circus is not quite real or that it has secrets that we, the readers, are not privy to. In other words, the present tense lends an air of mystery that worked in this story *because* so much of the circus revolved around dazzling, mystifying and tricking patrons into thinking magic isn’t real.

That being said, I do think the periodic interruptions in which Morgenstern describes the experience of the reader going to the circus felt jarring. Every so often, Morgenstern has a section narrated in second person, with phrases like “you make your way to the tent” attempting to immerse the reader in the atmosphere. While these sections were wonderfully written and evoked the senses in pleasing ways, I ultimately felt that they distracted rather than complimented the story.

However, I really did adore Mogenstern’s creativity and imagination. I loved the attractions she envisioned for the circus, as well as its black and white color scheme. Instead of feeling gothic or threatening, the circus felt rather elegant and inviting while still maintaining and air of mystery. In this way, I think Morgenstern struck a nice balance between alluring and unsettling, one that doesn’t drive people away but ignites their curiosity.

Plot: From the summary of the book, it seems as though the majority of the plot will revolve around a “fierce competition” between star-crossed lovers, and while that narrative was present, it often faded into the background for me. The “competition” never seemed to pose a threat or create suspense - there was not really a strong back-and-forth pattern of one-upmanship that challenged the characters to push themselves and their abilities. Instead, the details of the challenge are rather foggy, so even the competitors don’t know the rules or the consequences, and they don’t seem to feel constrained or imprisoned by the competition in any way. I think this could have worked better for me if the whole challenge started competitive but then became forgotten in favor of the two romantic leads outdoing themselves for the sake of making one another happy, and while there was some of that, it didn’t feel like it was much of a guiding thread throughout the book.

I did think that the plot about Bailey and the red headed twins was better constructed, even if some readers found it uninteresting. Even though it was simple (Bailey wanted to get back to the circus and find the girl he had met years ago), Bailey clearly had goals and conflicts that influenced his decisions, from feeling constrained by his family’s expectations to the uncertainty of his future, and I think his arc complemented the main plot nicely - Bailey felt trapped by everyday life, and the circus served as an escape, whereas the circus is a kind of gilded cage for Celia and Marco.

That being said, I do think Morgenstern’s attempt to make the “moral” of her book about the power of stories and storytelling rather ham-fisted. Morgenstern clearly has a love of storytelling herself, and the whole book is an exercise in the power of storytelling, but I don’t think stories had a strong enough presence in the narrative itself to make the whole point of The Night Circus about those topics. Instead, I think the secondary theme of “the future is unwritten” to be much more compelling, and I think the conclusion of the novel should have ended on that note rather than Widget agreeing to tell a story.

Characters: While this book follows a number of characters, the summary primarily focuses on Celia and Marco, two “magicians” of sorts who are thrust into a competition by their mentors in order to prove whose method of doing magic is superior. Celia is more intuitive, performing magic through her “natural abilities,” while Marco is more studious, using things like signs and anchors to guide his magic. Aside from these defining qualities, I didn’t find either of them very memorable. Celia supposedly had the tendency to lose control of her emotions (and magic), but we never really saw that manifest in ways that were threatening to the competition or the people around her. Marco is also somewhat of a blank slate; he’s organized and works hard, but that’s about all I can say about him. I didn’t quite see what qualities attracted the two to each other, much less why they fell in love other than they admired one another’s magic.

Their mentors were a bit more interesting in that the had contrasting personalities. Celia’s mentor (her father), is overbearing and egotistic, whereas Marco’s mentor is reserved. I liked the mystery that surrounded Marco’s mentor and the way his emotions never seemed to get the better of him until certain points. Celia’s father, on the other hand, was a bit annoying and cruel.

I did enjoy reading about the other protagonists, Bailey and the red headed twins (Poppet and Widget). I thought that Bailey had enough external pressure to make his goals and desires feel real. Poppet and Widget also complimented each other nicely; though they are twins, they felt like separate people rather than a duplication of one another, and I liked how they were inquisitive, playful, and caring.

Supporting characters were also incredibly compelling and memorable. Chandresh, the proprietor of the circus, is eccentric, and I loved reading about his house of curiosities and his lavish midnight dinners. Tsukiko, the contortionist, has an appealing attitude that is simultaneously warm and matter-of-fact. Isobel seems like she would serve the role of the jealous lover, but I liked that she was warm and found a home with the circus. Herr Thiessen, the clock maker, encourages others to see the circus with wonder without becoming dangerously obsessed. Other members of the “circus board,” such as Mme. Padva, the Burgess sisters, and Mr. Barris, were also interesting to watch as they left their thumbprints on the circus.

Other: This book didn’t have a lot of worldbuilding (if that’s the appropriate word for it) in that none of the magic systems are fully explained, nor are we told who or what the mentors really are, but I don’t think these things were needed. The lack of full clarity enhanced the sense of mystery about the circus, and in some ways, this book was more “magical realism” than full fantasy.

I do think, however, that the ending to Celia and Marco’s story was rather unfulfilling, in part because it relied on the performance of a kind of magic that I didn’t quite understand. I think it would have been fine if the two had simply disappeared together and their “souls” (or something) still hung around the circus, so readers get the impression that they’re together, but the details aren’t quite clear. The matter of controlling the circus also seemed convoluted, and I’m not convinced that the magic required to do this was seeded into the story ahead of time, so it felt somewhat random. As a result, the ending seems to require us to understand how separate types of magic work, but the details of these systems throughout the book are vague, so the sudden specificity at the end feels strange.

Overall, though, this book was memorable and enchanting, which made up for the shortfalls. I still enjoyed it immensely, and I think Morgenstern is a phenomenal storyteller.

#book reviews

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sadlyafanofotomegames · 5 years

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A Road Paved with Bad Endings - Nameless ~The One Thing You Must Recall~

Lance - Bought New, Popular and Mass-Produced

Lance is a straight-laced silver-haired young man, who likes to keep everything neat and tidy and hates messes. He can act very cold, and can act harsh even toward Eri, but he is protective of her, and does not put up with other dolls bothering her, especially Red and Yuri. Anytime Yuri tries to flirt with Eri in a way that upsets her, Lance has a slipper in hand ready to strike. In his route its clear that even though he acts cold he, like all of her dolls, cares for Eri. It’s just that as a doll, who’s personality was meant to be malleable for their owner to shape, Lance feels he doesn’t have enough of an identity to be interesting.

Lance was Eri’s First Doll, and he’s expected to be your first route. His route and the ending involved foreshadow story beats later, but its mainly a way to dip your toes into what routes will be like and how even the most composed doll gots some issuuuuuuuues.

I will say that when Eri and Lance get together in the end I am...the least concerned about their relationship. It does get a little cliche and then it gets more intimate than I expected, but overall its a good start. Now lets ruin it with bad endings.

Bad Ending 1 - Broken Heart - TFW You Can’t Imagine Being Anything More Than A Dull Blank Slate Destined to be Thrown Away So You Just Stop Having a Soul

How to Get It

This one happens about halfway through Lance’s route. One rainy day Lance stayed outside after seeing a barbie doll in the trash, reminding him of the fact that he’s mass produced like the barbie doll, and like it he might be thrown away when Eri gets bored of him. Because he stayed out in the rain he got sick, so Eri worried over him sitting next to his bed. After falling asleep she wakes up to find him patting her hair, asking her to Stay Still.

So what do you do? You Stand Up and Look At Him. Sounds like a pretty innocent decision to make right? Weeeeeeeeell...

What Happens

So Lance is on the verge of an existential crisis. Its not so much that she was wrong somehow, but its easy to forget how bad a state he’s still in. Eri looking him in the eyes when he wasn’t ready triggered a full on panic attack. At one point Lance grabs Eri’s hand and presses it to his chest, asking her to remove his soul. If he’s destined to be empty and thrown away, why should he have emotions to comprehend that emptiness?

After Eri screams, Tei runs into the room and pushes him away from her (I’ll get to get him later.) Quickly the other dolls assure Eri they’ll watch over him and asks her to stay in her room.

The next morning...Lance stopped moving. He doesn’t breath. His body no longer felt human. It was like his human body turned into a doll’s. Tei assures Eri they’ll do whatever it takes to turn him back, but Eri is heartbroken. She’ll never get to hear Lance again.

Meanwhile a mysterious voice comments that Lance lost his feather. Game failed. The voice asks to turn back time, but the man he’s talking to says that requires memories. The voice suggests...why not that person looking at us from across the screen? The man laughs. They can’t touch them, but who knows, maybe the person across the screen will be a future client? Anyway should they continue the game? End.

How I Feel About This One

Listen I said this one was tame compared to the other endings. I didn’t say it wouldn’t be horrifying.

While I think the single seemingly innocuous choice leading to this end is jarring, the ending itself fits perfectly with both Lance and Eri’s fears.

Throughout this route in particular, Eri is absolutely terrified that the happiness she gained when the dolls turned to life will end, that eventually they’ll all turn back to dolls and she’ll once again have to get used to living alone with only memories. Lance is scared of this as well, but mainly he’s scared of Eri leaving him behind for the other colorful dolls, who with the ability to communicate with her now can show their unique personalities.

Lance turns back into a doll in the end because he couldn’t imagine being anything more. He gave up trying to be more than what he was made to be: plastic. And Eri’s worst nightmare came true. It’s a haunting, fitting bad end for Lance’s route.

Now the person our mystery buddies were talking about might be us in the meta sense, but at least in the localization they referred to them in he/him pronouns, making me think that they’re referring to someone specific. Who it is, we might never know.

Bad Ending 2 - Accident - TFW You Really Wanted The Heroine To Bang A Doll But She’s Not Showing Enough Interest In It So You Just Have A Truck Run Over Her

How To Get It

This is the only route where you have to continuously make the wrong choice, from the beginning right until the last choice.

In most routes, choosing the wrong choice doesn’t automatically get you into bad route mode. Rather, if you pick the wrong choice, you’ll miss things from cute moments between Eri and her Doll of the Week, to CGs. It might also remove a chance to pick another choice later down the line. So even when you’re not going for a bad end it’s a good idea to Q.Save and try out both choices and let it play out for a little while.

This one, however, requires you to constantly show disinterest in Lance’s opinion, avoid interactions with him, and basically not listen to Lance’s worries and concerns. The only choice that you have to do right is to Stay Still during the emotional scene after the rain.

What Happens

Basically while a lot of emotional beats still remain intact, Lance can’t initiate that penultimate moment where everything clicks together. Because Eri acts uninterested and dismissive of his opinion, Lance doesn’t want to initiate anything. It’s not like he suddenly hates her, its just he’s not going to try...what he did in the good route...in this timeline.

Which is awkward, because our mysterious voice really needs Eri to get cozy with Lance, but it looks like that’s not gonna happen. Hmmm...what to do...

...Oh well lets just have a truck run over her. Eri is sleepwalked right into the line of traffic and dies. Rude.

How I Feel About This One

While Lance fearing his presence can’t sway anything comes to fruition, I think this ending could happen in Yuri and Yeonho’s route just as well...give and take. The way their routes shake up shifts drastically after finishing the common route, and their bad endings are in drastically different places in the story.

Honestly I feel like they just couldn’t think up other bad endings for Lance, because his issues are not as harmful to him and to Eri as the other dolls. But the other routes have 3 to 5 endings so they need to do something so...guess she’ll die?

Anyway I suppose this one is different in that its the only one where she dies. The things that happen to her and her Doll Band later...woof. Maybe her dying is one of the better scenarios. Stay tuned for Yeonho’s Bad Endings, who’s mental state actually worsens in his own route because Eri gives him more attention and thus encourages his behavior. YAAAAAAAAY.

#nameless the one thing you must recall #cheritz nameless #cheritz #otome game #a road paved with bad endings

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zdbztumble · 5 years

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So About That Roxas…

Well, it’s that time - time to invite unholy disdain upon myself for my blasphemous views on fan favorite Roxas!

OK, that’s an exaggeration. I don’t know how unpopular what I’m about to say really is. And to make this perfectly clear up-front - I don’t dislike Roxas. I think he’s a fine character, and his (very) long prologue is one of the strongest parts of KH II. But I do find Roxas more valuable and compelling in how he relates to other characters, and in the fact that he is an aspect of Sora, than in his own right. All on his own, I don’t find Roxas to be particularly active or interesting.

And that isn’t a flaw. Given what Nobodies are (prior to DDD, at least), I would expect that from Roxas. Almost every member of Organization XIII isn’t terribly dynamic or dimensional on their own merits - their personalities are one-note (if that), which can be by turns tragic, obnoxious, or an effective foil for the protagonists. When Roxas draws jealousy from Hayner, general confusion from his friend group, some amount of pathos from Axel, mixed emotions from Riku and disdain from DiZ, and attraction from Namine, he’s a great example of the latter. I never find him obnoxious, and when he is on his own, there is a sense of tragedy with him. Because while Roxas may have agency, and does display a curiosity - almost an obsession, after a while - with gaining answers for the strange things happening to him, he’s ultimately empty. None of his joys, none of his curiosity - and not even his rages and despairs - last. He ends up defaulting, always, into a quiet, resigned, and hollow state, and he doesn’t seem happy about that.

This is true of the Twilight Town prologue, at least. In the brief flashbacks we’re given in KH II, and at the beginning of the Sora/Roxas fight, a different Roxas appears. He’s still empty at the core, but his front to the world is crueler, dismissive even of the words of his supposed best friend Axel, and predatory. We learn later in the game that DiZ altered Roxas’s personality when he dropped him into the digital Twilight Town, and it’s not hard to see why. Even with the altered personality, the strongest display of feeling Roxas can manage is anger. It’s only when Roxas confronts Sora, accepts him as “a good other,” and fully rejoins with him, that Roxas appears genuinely happy and alive in KH II.

But I do have problems with how Roxas is used, in KH II and especially in 358/2 Days. To start with II - there are some pretty big missed opportunities. Roxas was a member of Organization XIII, presumably working toward their goals (to go just on what we see in KH II), and every member of the Organization who sees Sora recognizes Roxas within him. Wouldn’t it have been nice to have someone else do the same? If, when visiting one of the Disney worlds that Sora hasn’t been to before, there was a character who had a negative encounter with Roxas, and therefore fears Sora and the Keyblade?

The lack of any such scene speaks to a larger problem with Roxas in KH II: his limited relevance once the prologue ends. He does come up here and there throughout the play time, which I do appreciate, but he doesn’t really have an impact on Sora before their clash other than as a source of mild confusion. Sora’s reactions to being called by Roxas’s name never progress much past “huh? Cut that out!” and he has no real reaction to learning that his own Nobody was a member of Organization XIII. Had Roxas’s activities over the past year created a negative consequence that Sora had to deal with, that might have invited some internal conflict within Sora’s heart, culminating in a much more emotionally charged clash with Organizers like Xibar and Saix. Hell, even without such a scene, the knowledge that a part of him was a member of the bad guys could have, and should have, made Sora feel at least a little upset. That’s not to say that the absence of such a mini-arc is a dealbreaker for KH II; what we did get works well enough. But, much like Roxas himself, something seems to be missing.

A future game might have been able to address this issue...had it not been for 358/2 Days.

This isn’t a revisit of Days; I can’t very well revisit a game I only ever played the first few minutes of, years ago, before losing touch with the friend who had the DS card for it. You’ll get no views of the gameplay here. But I am familiar with Days; I’ve read the breakdowns, researched its writing, and watched the movie multiple times. And I gotta tell ya - I know the game has its fans, and it may have some strengths and concepts missing from other titles, but I really don’t care for its story. And that has a lot to do with how it mishandles Roxas.

I’ll start with a caveat - I am not the audience for Days. At no point while playing KH II did I ever want to know any more about Roxas or the Organization than that game saw fit to reveal. What we got was enough for them to work as the villains in that story, and that’s all I ever needed them to be. This was always going to be an easy title for me to skip, or at least not take any real interest in. But that’s a matter of taste. Plenty of people take more interest in the backstories of Roxas and the Organization than I do, and this was perfectly acceptable as a subject for a midquel game. But the execution, IMO, is a complete mess. It ignores or retcons several of the snippets we get about the Organization in KH II, to poor effect, and fails to expand on any of the villainous Organizers in a way that might turn them from one-note video game bosses and elements of a hive mind into fleshed-out characters. Axel is given several coats of whitewash, and his history with Saix lacks any resonance when Saix is left as such a hollow villain. There’s no playing alongside Disney characters in a game so given over to original KH lore, and that lore is rewritten in ways I don’t like. The trends of mystery for its own sake and teasing histories and future events at the expense of the story at hand continue, the same few points of lore and logistics are over-stressed, and the dialogue and voice acting just isn’t good (and can anyone tell me why they re-dubbed Christopher Lee in the HD movie version? I mean...it’s Christopher Lee!)

But as I said, the real problem is with Roxas. For a character meant to be the protagonist, Roxas cedes a lot of narrative real estate to new character Xion. Like Days itself, I know Xion has fans - ardent fans. I can’t argue with that, nor would I want to; you can like what you like, and I won’t assess and critique her as a character here. But all I can say about Xion is that, as a writer, she strikes me as redundant. A member of Organization XIII, unusually lacking in knowledge about their life beforehand, wielding the Keyblade, inducted into the Organization within this game, derived from Sora through unusual means, with a connection to Kairi and whose existence arrests Sora’s full restoration from the events of CoM; setting her character aside, Xion’s narrative function is exactly what Roxas’s was established to be by KH II.

One could say that the game makes a point of this, turning it into an orchestrated conflict between the two by Xemnas, but practically speaking, this means that Roxas spends a key chunk of the story displaced. He becomes a friend on the sidelines as the real meat of the story concerns a character who, from the very beginning, anyone who played KH II would know isn’t going to matter past this game. This ends up making Xion more important, and more interesting, than Roxas within Days itself. But almost everything that Xion goes through could have easily been given to him by dint of what we see in KH II. That Sora’s restoration is upset because his memories of Kairi are being absorbed into another being would have been especially appropriate for Roxas, since Kairi’s very name is always fractured in the restoration process during II’s prologue at first, and the process itself is at such a low number despite a year having passed until Roxas is in DiZ’s hands. Those character elements unique to Xion herself, and the conflict between her and Roxas engineered by Xemnas, aren’t enough to justify her presence in the larger KH story IMO, and end up confusing elements of the lore (replicas, memories, etc.) If she had been cut, and those aspects of her story relating to Sora’s restoration given to Roxas, the story and lore integrity would’ve been better for it.

But that wouldn’t have solved everything wrong with Roxas in Days. Let’s look back at what KH II shows us of a pre-DiZ Roxas again. A cold and predatory figure; the Dusks who first come for him in Twilight Town address him as their “liege,” implying that they served him the way other Nobodies serve the Organizers; the Organizers themselves seem to have been quite close to Roxas, taking his betrayal hard and referring to him as “brother.” And Organization XIII, as we see it in KH II vanilla, is a collective, with no real secret about its motives within the ranks - that motive being, in so many words, to let the remaining Heartless continue their genocide across the worlds just so that they can swoop in with the Keyblade, harvest the captive hearts, and offer them up to their Kingdom Hearts in a mad bid to gain hearts of their own.

So why is Roxas so innocent in Days?

That cold exterior, the flashes of temper - that’s not what we get from Roxas here. What we get is a blank slate who becomes a puppy as he strikes up a buddy-buddy relationship with Axel, and who later performs the same function for Xion. He talks about fighting the darkness and asks hopefully if he’s performing “good” deeds. His interactions with his friends show him to be cheerful and open. The Samurai are supposedly under his command, but that’s a detail relegated to the reports. His relationships with anyone in the Organization other than Axel and Xion don’t even warrant scenes in the movie, and nothing suggests that they would deem him “brother;” Saix and Xemnas regard him as no more than a tool . And even though he’s destroying Heartless with the Keyblade, and those hearts are becoming part of the Organization’s Kingdom Hearts...somehow this is a point he needs explained several times? And he and Xion openly doubt why they need hearts at all - a point presented as one to be sympathetic toward, despite everything from KH II and a good chunk of this very game stressing that it is in fact a problem that Nobodies lack hearts?

This is not what was indicated in KH II. What’s worse, it’s boring. A far more effective choice IMO would have been to let Roxas be villainous. Go the dark protagonist route; give us a cold hunter of a character, with the impulsive anger and fractured psyche Sora showed in CoM, fully aware of what the Organization is up to and the price that others will pay for it and still committed to the cause. Then, when the events of CoM play out in the background, and fragments of Sora’s memories find their way to Roxas (assuming we still cut Xion in this scenario), that’s the turning point. That’s when Roxas can doubt the Organization’s cause, when he can begin to question his lack of memories and his true identity, and betray the Organization by setting out to find Sora. Give him two separate fights with Riku, to justify the dialogue claiming such in KH II. Let him develop some awareness of Namine after he gets Sora’s memories; Namine’s dialogue in KH II indicates that they’ve never met before, but a connection at a distance could serve to give more substance to their relationship, and supply Namine with opportunities to develop as a character. Depict the scenes where she first comes into contact with DiZ and Riku, agrees to take on their help in restoring Sora’s memories, and feels conflicted about the moral gray area their harsh but necessary actions occupy. Let her be ultimately responsible for setting Riku on the right trail that ends up bringing Roxas into their hands.

Of course, one reason why they may have opted not to do this is because having a dark protagonist complicit in an evil scheme involving the deaths of countless people may have been difficult to pull off while still earning an E10 rating at most. And honestly, the story told by Days doesn’t strike me as necessarily the best fit for a video game even as-is. They might have been better off with planning it as a proper movie from the get-go, instead of a string of cutscenes divorced from the gameplay as they ultimately presented it in the HD collections.

And another objection to this approach might have been that a villainous Roxas and morally ambiguous Namine might have been less “likable,” and therefore less usable in future titles. To that I say - so what? I didn’t want Roxas and Namine as characters in any titles past KH II anyway - not because they were bad characters, or because I didn’t like them, but because their stories concluded. Concluded on terms they chose, and were at peace with. It was tinged with a bittersweet quality, but they did get a “happy” ending. If a midquel story complicated their morality, that wouldn’t negate the events of KH II or the resolution they received; it would have created a journey to get them to that point, starting from a much darker place, and given more weight to the idea that it was necessary for them to rejoin with Sora and Kairi. I’d argue that would enrich what we see in KH II, whereas the actual route they took in titles like DDD and KH III disregards or undermines everything that made the ending of KH II work.

#z's crits #kingdom hearts #roxas #namine #kingdom hearts 2 #critique #commentary #358/2 days #xion

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ehc-on-ao3 · 4 years

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Cut content - 13:NSUA

Just for everyone’s viewing pleasure (or horror, whichever fits), here’s the initial idea I had for chapter one of 13: Not So Unlucky Anymore.

Victoria shook her head. "I really can't believe this shit," she said with a shake of her head. "It's like we're a fucking harem here. This is the entire girls' floor!"

"Except the transfer student."

Everyone stopped and turned to Kate, who had remained silent up until now. "What was that?" Rachel asked.

"Oh." Kate shifted, unused to being the center of attention. "Well, last night, sometime after dinner, I noticed a girl was apparently moving in. She had her arms pretty full so I gave her a hand getting all of her stuff upstairs. I pointed out it was an odd time to move in but she stated that she missed the first week due to a sudden illness in the family and couldn't make it down the previous weekend." Kate shrugged. "I only just now remembered. I guess everyone else was in their rooms and whatnot so I was the only person who saw her come in."

"Room 219?"

Kate turned to Steph and nodded. "That's right."

"I saw someone had drawn a picture on that room's slate when I walked passed. I only noticed because it had been blank before."

"What's her name?" Courtney asked.

Kate shook her head. "I asked last night but I forgot. Sorry."

"No worries," Rachel said, giving Kate's hand a soft pat. "But now we have a likely suspect: our newest resident. Her room is about in the middle of the floor, so we're all within close proximity to her. Her presence likely triggered our marks a few hours after she arrived."

"Then why isn't she here?" Juliet asked. "She must've saw the sign by now."

"Could be a late sleeper," was Dana's reply.

"Whatever," Victoria said, sliding her unlit cigarette back into its pack. "She's the last one left so I say let's go kick down her door and find out just what the hell is going on." And without waiting for confirmation from the others, she started out of the common room. "Seriously, who the hell needs 12 damn soulmates?"

"The Zodiac Killer?" Chloe supplied helpfully.

Victoria barked out a laugh despite herself, to the surprise of most everyone present. Juliet wondered if that meant the other thing she read about soulmates was actually true: that over time, difficulties that might normally arise from soulmates having wildly differing attitudes and character traits would simply smooth themselves out. She decided to keep that little tidbit to herself.

For now.

Everyone crowded around room 219's door, the slate on it now sporting a poker face meme along with the caption "I'm here. Yay." Victoria raised her hand to pound on the door before Rachel reached out and caught her wrist. "Hey, maybe we can let Kate knock?" she offered. "Since she's at least a familiar face."

Victoria gave Rachel a long look before nodding slightly and stepping aside. Rachel then motioned to Kate, who stepped up and knocked.

Everyone waited with bated breath as they heard a quiet voice call out, "Just a sec." There was some rustling, the sound of a bed creaking, then, a moment later, the door opened.

Whoever she was, she had apparently just woken up. Short brown hair sticking out every which way, blue eyes looking blearily at the crowd outside of her door. She was fully dressed but her clothes were completely wrinkled, like she had slept in them. She painted a very unimposing figure. "Kate? What's up?"

"Good morning," was Kate's reply, irritated with herself that she couldn't remember the girl's name. "We were just talking--"

"Max?"

Everyone, including Max, turned to Chloe, who was staring at Max like she had seen a ghost. "Holy shit. Max? Is that really you?" Chloe shook her head slowly, eyes still locked onto Max. "They told me you were dead!"

Originally, the soulmate idea was angsty. Have Max transfer in after the semester’s already started, then have the marks show up. This would make it so she wasn’t familiar with anyone, didn’t have any friends at Blackwell yet, and didn’t have a chance to reconcile with Chloe. This would lead to a ton of resentment that Max would have to resolve before reciprocating with anyone.

In addition, the idea I had was all the girls would work to keep the marks ultra-secret from anyone else because, in this initial setting, soulmates are common but there are actually laws that require soulmates to reciprocate as quickly as possible. “It’s for your own good” and all that. Chloe would use the guilt Max feels about abandoning her for five years to force her non-compliance with the laws, keeping everyone free from reciprocation. This would last until Max had earned everyone’s trust, or until they were found out.

That last line, “They told me you were dead,” was placed there to add a huge dose of mystery to the entire thing, too. However, it fell flat because I couldn’t come up with anything resembling an over-arcing plot that would incorporate such a mystery to begin with.

Ultimately, I dropped this idea completely for a few reasons: I didn’t have enough material in my head for a lengthy angst soulmate AU; I didn’t really want to write Max being public enemy #1 to everyone; and, this version wasn’t going to be fun to write at all. So, it got severely altered into its current form. This is also why chapter 2 has the line, “(No, wait. That's another version of this tale. We're keeping it silly here. So...).” It’s a callback to all the arguments and head-to-keyboard-smashing I had with myself when coming up with more ideas for this story.

#Life Is Strange #fanfic #mywork #13: Not So Unlucky Anymore #cut content

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carolightpenvenys · 6 years

Text

DEADLY NIGHTSHADE- a Penvenys AU

in which dwight is the medical examiner in the morgue and caroline is the new detective, ready to solve some murders

trigger warning: murder and mention of sexual assault (only in this chapter)

CHAPTER 1: it’s always the spouse

Dwight had received a new body this morning- it was always unfortunate when he had to perform an autopsy because it was pretty much always a murder.

He sighed, filling in the paperwork for the deceased, a Miss Morwenna Chynoweth. She was very young and Dwight felt a keen sigh of relief that he was not acquainted with any of her friends and relatives.

Staring at the clock, he realized that he was due a visit from the homicide detective at any moment, so decided to cover the body as best he could, for further investigation later. He stared again, willing it to be lunchtime but it was in fact, only ten past nine.

“I mean, if you stop staring, it’ll be five o'clock in no time.” He heard a distinctly feminine voice and laugh behind him and it honestly shocked him.

“Oh hello.” Dwight said, trying to compose himself as he turned around. Was very difficult. She was an intensely beautiful woman in an intensely professional pantsuit. “Where’s detective Poldark? He normally does this kind of thing.”

“Am I not good enough?” The strange and beautiful woman lifted her eyebrows in a teasing manner. “I’m just kidding, he has a kind of personal involvement in this case which prohibits him from investigating.” This made Dwight’s heart flop a little- Ross and himself often solved crimes together and even shared a takeaway after. One could even call them good friends.

She held out her own ID for him to see, “I’m Detective Caroline Penvenen and I can assure you I’m just as valid with more solves than any other.”

Dwight realized then he’d been staring blankly but also had resting sad face. “Oh of course, would you like a cup of tea?- I am Doctor Dwight Enys.”

“Oh my god.” Caroline put her hand on her forehead. “That sounds like possibly the best thing ever right now.”

Dwight walked over to the kettle and decide it was better to make conversation than to sit in an awkward silence with frankly, one of the most beautiful women he’d ever seen.

Obviously objective, he was professional.

“So have you been working here long? I’ve met most of the homicide detectives but truly I’ve never come accross you.”

“No, this is actually my first case here.” Caroline smiled as she pinned her hair back with pins and bands to make the perfect low bun in under 30 seconds. “But I’m confident it’s an open and shut case. It’s always the spouse.”

“Do you think?” Dwight found this an intriguing debate. “I mean it’s a stereotype but I’ve never really looked at murders like that before, I normally start every patient as a blank slate.” He stirred the teas nervously, trying to tactically throw the bags in the bin with minimal staining on his white coat.

“No trust me,” Caroline ate a custard cream from her bag. “It’s literally a police ground rule- plus after you see the pathetic arsehole that is this woman’s spouse, I’m sure you’ll agree.”

“Oh no.” Dwight bought the mugs over, putting them down on carefully painted coasters he bought from home. “I hate arsehole spouses, give me the file.”

“Oh my Lord.” Caroline sighed. “Dwight what the fuck is this.”

Dwight looked up for a split second. “What the fuck is what?”

“This tea!” Caroline cried. “I know I’m southern but this is miserable honestly.”

Dwight looked down at the milky watery concoction he made for himself. “This is how I like it.” He justified.

“It seems we have another murder. The victim being this poor tea bag.”

“Very funny.” Dwight chuckled at her teasing, taking a sip. “Oh man this guy sounds sleazy as hell.”

“Doesn’t he? He’s been accused of sexual misconduct twice that has mysteriously gone away, he preaches utter garbage-“

“Freedom of religious expression.”

“Subjectively garbage about politics and women.”

“But could be murder?” Dwight tapped the page with his biro. “Make no mistake, Miss Chynoweth was poisoned, I suspect with a plant that I’m waiting for test results on. Do you think he has the will, or dare I say intelligence for pre med murder?”

“A good point.” Caroline nodded shrewdly. “But look at this, just a month ago, he tried to have her committed to an institution. What does this mean?”

“That he has little regard for the mental health of women.”

Caroline put her hand up for a hi-five. “Woke.” He hi fived her back and decided to ignore the electric pull he felt to linger.

“Dare I say it Dr Enys.” Caroline sighed. “I think we are going to have to pay the Reverend Osborne Whitworth a visit.”

POLICE INTERVIEW WITH SUSPECT:

REVEREND OSBORNE WHITWORTH (SUSPECT): OW

DET. CAROLINE PENVENEN: CP

DR DWIGHT ENYS (M.E): DE

CP: Reverend, where were you around midnight last night, the twenty third of February?

OW: (the suspect is crying, but it looks fake). I was in bed asleep! Little did I know that-

CP: Can anyone confirm your whereabouts at this time?

OW: (scoffs) only my mother and around half a dozen house staff. We live in stately home you see, maybe you’ve heard-

DE: Have you ever seen the Atropa Belladonna plant, sir?

OW: One of the most beautiful plants- such mystery, such charm but dead to the touch, much like my wife.

DE: Tests we ran confirm it to be the murder weapon.

CP: What do you mean, much like your wife?

OW: (the suspect has regained his composure) Well- hmph- well. I’d rather not discuss this, it’s a private matter.

CP: I’m afraid we have to ask you, it’s our duty.

OW: Just to remind you, I’m not under oath.

CP: I’m aware of the law.

DE: Detective Penvenen asked what you meant about your wife?

OW: You see, Morwenna tempted me, I was promised a fruitful marriage where she would… fulfill her conjugal duty. But whenever I came near her it was like I was poisonous. The most odious thing she’d ever seen.

CP: So you had a sexless marriage?

OW: (the suspect is embarrassed) No.

DE: This is a difficult question to ask, but did you ever sexually assault your wife?

OW: No! How dare you even think this! All my accusations against other lying women have been disproved.

DE: I did not mean to jump to conclusions, I just need to know this when I check over her body later.

CP: It was a scientific question, Reverend.

OW: I don’t even know why you’re holding me here! I demand the presence of my lawyer. You can’t hold me for anything I have an alibi and witnesses. I’m leaving.

CP: I’m not stopping you. Just don’t leave town.

END OF INTERVIEW

“What a fucking slimy bastard.” Caroline complained loudly, once she turned the tape off.

“Honestly though.” Dwight looked uneasy. “I want to lock him away for years and years but I don’t think we have found our murderer just yet.”

#dwight x caroline #poldark #dwigt enys #caroline penvenen #morwenna Chynoweth #fic #au

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lisatelramor · 6 years

Text

Not Left To Stand Alone Ch25

By the time Saguru got in touch with Aoko, the body on the news had been identified as Ichiyose Gen, a supposedly mild mannered accountant for a law firm just outside of Tokyo. Ichiyose had been much less inconspicuous once his apartment had been searched. While the apartment proper was clean to the point of barrenness, the police had found a hidden compartment in the closet with rifle shells, indicating that Kudo’s hypothesis that the man was the mystery sniper were correct. Of course Aoko wasn’t supposed to have shared any of this and the whole thing was being hushed up. As of yet, there were no clear connections to anyone or why Ichiyose had been left in Kid’s costume.

The law firm wasn’t connected to anything that Saguru could see in the greater picture they were building. Ichiyose had just been a man. A hired killer, most likely, but not anyone important, a contract killer with a front job to maintain, no clear motives, no trail of his history to lead back to other targets or anything. There had been no papers in the apartment of use, no mysterious bank statements with suspicious influxes of cash, no digital trail to mark how he kept in contact with potential clients. It was all a blank slate, like anything beyond the rifle shells had been removed. Even the gun wasn’t there.

It added up to a frustrating amount of nothing and very little for the police to work off of except looking to the law firm as a possible shell company with whom Ichiyose could have met targets. Or, of course, the rifle shells could have been planted, the presence of the Kid costume left merely to confuse, and everyone could be devoting effort and resources to something that had nothing to do with Kid or the group they were after at all. Or it could be a distraction by them and Ichiyose an unfortunate victim. There were too many loose ends and uncertainties to say for sure, and Saguru didn’t have the authority to look into it closer.

“I’ll let you know if anything comes out of it,” Aoko had said before she hung up his call.

And so Saguru was left grasping at air for leads again. It was terribly frustrating. The documents Kid gave had names and people and companies, but unless they were caught in the act on things, there wasn’t much way to bring them down. And even then, it would be a matter of striking the right place; strike too low and you caught a handful of people who only knew the periphery of what was going on. Attempt to strike too high, and there could be positions of power to cover things up, shove aside your efforts or spirit people away. Timing would be everything, and that kind of timing required a good deal of effort made across the board to synch up everyone involved to hit as broadly and effectively as possible. It was the ones in the police and legal systems and those high up in corporations and politics that would be the hard ones to hit. The ones who had lawyers to stall and misdirect and drain resources. The ones in positions of power that could halt everything or call it all a hoax to ruin their name.

They would need people in high places to help. Unfortunately, it was hard to know who could be trusted.

Meanwhile, Aoko was stretched thin investigating the bomber, Kid’s disappearance, the sniper, and now this latest body. Saguru made a mental note to check in with his father; despite being retired, he’d likely kept up with who was in charge, and could probably give a decent theory on who was more likely to be trusted. Add that to Kuroba’s notes, and maybe they would finally get somewhere. What they needed most was an opening, catching someone in this massive group in the act. If they could manage to trace any actions that happened after, figure out who covered things up or find other links...

Easier said than done though. There were no leads on the bombs and the sniper was most likely dead.

Saguru rejoined the others in the kitchen and found Kudo heading out.

“I think it’s time for me to do a bit of legwork,” he said. “I’m going to get any information about Ichiyose that I can, and hopefully find some clues that lead somewhere. Then I figure I’ll check out the buildings near the cosmetics company. Going to the building itself might tip them off, but maybe looking around the area would help.”

“I’ll go through more files.” Bit by bit they were gaining a concept of the group’s structure. It was only a matter of time and effort before it all began to pull together. When he could, Saguru was cross referencing things to information Aoko and Nakamori had given him, fitting cases to faces and tracking who had most likely redacted parts of the files, who would have had the influence to seal them away. This was vital evidence for cleaning up the poison in the police force. It was also the most tedious part of it all. He missed the days where legwork hadn’t been too physically demanding for him to do much of.

***

Saguru woke with the mild confusion of someone finding themselves in a room they were unfamiliar with, with the hazy uncertainty for why he woke in the first place. Kudo’s guest bedroom was more comfortable than the futon Saguru was currently used to sleeping on, but the walls had unfamiliar shadows and an unfamiliar ceiling. He stared at it blearily, no street light from outdoors radiating through the blinds to throw black against the white, just gray fading into darker gray.

Then a soft scuff against wooden floors jolted him awake; he wasn’t alone. Saguru shot upright, hand grasping for something nearby to use as a weapon and only coming up with the book he’d been reading before bed.

The person in the deepest shadows of the room paused.

Saguru slumped in relief when they moved into the dim light coming through the window. “Chikage-san,” he said. Kuroba Chikage, Kuroba’s mother and someone he had only seen in photos and interacted briefly in phone conversations. His relief didn’t last long as the strangeness of it all caught up with his tired brain. “What are you doing here?”

“Saguru-san,” Chikage said. She didn’t look much older than the photos of her at thirty-four had looked, a few more lines around her eyes and a streak of gray in her hair the only signs of age that Saguru could pick out in the dark.

“Kuroba’s in the room down the hall,” Saguru said as she leaned against the windowsill.

“I saw him already,” she said. He had the unsettling feeling of being weighed by her stare. “You and Kudo-san are leading the search for the organization.”

“...Yes?” She’d chosen a spot that put half her face in light, but it put the other half in shadow, much like Kid’s face was forever shadowed, only vertically instead of horizontally. There was the same promise of motion that Kuroba had in how she held herself, ready to flee or dodge or attack the way someone was when they were forever targeted. It was clear that whatever Kuroba Chikage filled her time with abroad, it wasn’t the safe, quiet sort of activities one would expect from a retiree. If he remembered correctly, there had been a rumor—or was it fact?—that Kid and the thief Phantom Lady were related. Phantom Lady had vanished from the public eye not long after Kid’s first appearance, interestingly enough. In fact, the two of them had even met at the same heist if Hakuba was remembering the details correctly. In France, during one of Kuroba Toichi’s world tours as a stage magician.

“You’re going to need proof of what they’re doing.”

“...Kuroba has provided a good deal of that,” Saguru said.

“For the companies in Japan,” she agreed. “He never did much with Kid’s reputation as an international thief.”

Kuroba Chikage, if Saguru remembered correctly, had spent a good deal of time abroad in the United States and Europe while Kuroba was a teenager. There was nothing to say that she hadn’t continued this, her absence when Kuroba was injured only adding to the assumption that these trips had continued. “Chikage-san, are you offering proof?”

Her smile in the dark wasn’t Kid’s smile that invited you to share in his mischief. It was a much darker smile that would be better fitting on a crocodile right before it snapped. “I’m sure as someone raised around police, you know how long it actually takes to get a proper arrest and sentencing sometimes. Finding proof when it’s been purposefully obscured and destroyed, getting a confession when they don’t want to confess... I think Kaito would be satisfied to take out their presence in just Japan at this point. But you can’t just kill the pests in your home if they’re all around waiting to fill in whatever you flush out. Power vacuums mean something fills it, right, Saguru-kun?”

The less switch in honorific made his tired brain pause. “What do you have?” He focused on the glint of her eyes and the silver curve of her smile in the dark.

“Financial records,” Chikage said. “Voice recordings. Surveillance footage that was supposed to have been erased. Research notes confirming unauthorized and illegal human testing. Locations of bodies gone missing, details of backdoor transactions, evidence of weapon smuggling across country and continental lines.” Saguru felt his eyes go wide as she listed things on her fingers. “Over two decades is a long time to put yourself in the right position and gather up allies.”

If that was true, ever since Toichi’s death, Chikage had been playing the long game, having a public and private persona and digging in deep to the criminal underworld. Saguru shivered. She’d let her son play target and lure and used his distraction to accomplish what he couldn’t. “Even with all of that,” he said finally, throat feeling tight with the enormity of it all, “to catch a group of this size...”

“They’re big,” Chikage acknowledged. “So when this breaks, it will have to be equally big, big enough that it can’t be buried. Bigger than Kudo’s takedown. You light up the world so there’s nowhere left to hide and make all their dirty laundry visible.”

“What are you planning?”

“The internet is a useful thing,” Chikage said. “A wonderful resource that’s only truly come into its own the last few decades. It’s hard to cover up anything that’s been leaked there...”

“An info dump,” Saguru said, understanding. “You plan to leak everything you’ve compiled so that the people involved can’t hide, air everything for the world to see.”

Chikage’s smile was predatory. “Of course it will work best if it’s coordinated with a police effort at the same time the dump happens. We’ve always needed to have more help from the inside, but it’s a bit hard when you’re working with criminals to get them to trust the police and vice versa. I had hoped it would be Aoko, but that opportunity was lost a while ago.”

Saguru looked at her. Her hair was neat, her face deceptively young, but she still looked like someone’s mother. Unassuming. No one would ever guess what lurked beneath that exterior or the quick mind that had to exist behind her brown eyes. He hadn’t realized in the messages they’d exchanged about Kuroba what lurked in her. He felt infinitely lucky that she seemed to have decided he was an ally instead of a threat. How close had he come to being under her watch as a teen? He surely would have been seen as much more of a threat. “It will still take a bit of time to organize things,” Saguru said.

“What is a few months compared to years.” She stepped forward, in shadow again and far too close to Saguru. He was uncomfortably aware of how sheets were still tangled around his legs and that there was nowhere to go to should she decide to turn that reigned in aggression on him. “You’ve insinuated yourself into my family’s lives pretty deeply in the few months I’ve been gone,” she said. Her face was entirely unreadable; Saguru didn’t know her well enough to pick up little tells like he could with Kuroba. “The phone conversations we’ve had led me to believe you care about Kaito’s wellbeing. Your actions so far have backed that up.”

There was an intense weight of judgment in how she stood over him, but this wasn’t the first time Saguru had been judged by someone’s parent, and compared to the contempt Mel’s parents had shown him for years after they’d been his in-laws, this wasn’t quite as heavy. He’d never felt like he might have to worry about getting stabbed by Mel’s parents though.

“He trusts you,” Chikage said after a deeply unsettling silence. “I am not sure I understand it but so long as you keep putting his safety first, I’ll trust you as well. Kaito is rarely wrong in where he places his trust.”

A light knock on the doorframe broke the stifling intensity of the room. Both of their heads turned toward the sound.

Kuroba, dressed in one of the various yukata he’d been in since he was first brought to the Kudo home, leaned along the doorway. It was meant to look casual but it was a far cry from his usual poker face. He was too pale for one. “The air’s so thick you could cut it,” Kuroba said, voice light.

Saguru was half out of his bed a half second later as the surprise wore off. “Kuroba!” He brushed past Chikage, stumbling toward Kuroba. “You’re not supposed to be up!”

“I am capable of walking to the bathroom,” Kuroba said.

“This isn’t the bathroom and no, you’re supposed to be on bed rest!”

“That sharp tongued doctor is going to yell at you,” Chikage sighed. She didn’t sound surprised though, walking past Saguru to get to Kuroba first and offer a shoulder in support.

“I’m healing fine. Better than fine, ask her.” Kuroba accepted his mother’s help while Saguru could only stand and feel useless.

“Be that as it may,” Saguru said, “please don’t aggravate your wounds.”

Kuroba rolled his eyes. “The world needs to stop treating me like glass.” And yet he made no move to refuse a helping hand and his face was still too pale. Saguru itched to guide him to the nearest flat surface—even if that flat surface was Saguru’s own bed. “And Kaa-san, you need to stop threatening people.”

“I have to test the detectives in your life,” Chikage said, “after all you can’t do much to defend yourself right now.”

“Well it’s a good thing I don’t need to defend myself then.” Kuroba leaned against his mother with a tight smile. “Don’t let her lead you into a plan you can’t handle.”

“Would I do that?” Chikage said. “If I remember correctly, you’re the one who plans impossible things.”

“We’re magicians, we live to make the impossible a reality,” Kuroba said with a judicious sniff. “Hakuba’s not a magician, he just deals with regular old reality. No one is making any stupid, life threatening plans, okay?”

“Noted,” Saguru said. “Not that I planned to risk any more than is already implicit in any of this. Now could you please return to your room and rest?”

“And I took the time to come and see you,” Kuroba said, with a put upon and overly exaggerated sigh.

“I’m touched,” Saguru said. It was slow going back down the hallway, slow enough that Saguru wondered how the hell Kuroba had managed on his own let alone silently enough to surprise them. Kuroba was right about always pulling the impossible. He shouldn’t be able to walk at all yet. Chikage was terribly gentle with Kuroba as she helped him back into bed. Saguru held back sheets to let Kuroba get comfortable but Chikage was the one to pull them up. It was a reminder that Kuroba was someone’s child, like Saguru was Mum’s son, like all of them were all children for someone, and it gave him a glimpse at what Kuroba’s early childhood might have been like. Chikage gentle but not taking any of Kuroba’s complaints or protests that he could settle himself back into a bed just fine. Joking back that he could say that as soon as he was able to walk without hiding his pain. It wasn’t the sort of exasperated doting that Mum would have done. Too efficient, but there was care there. Care that a younger Saguru had wondered about when he learned that Kuroba spent most of his time alone, and that Saguru had compared to his life in Japan with his father who always worked and a governess as his usual meal companion and had concluded that both of their lives could be lonely. Whether Kuroba Chikage cared about her son wasn’t a question anymore.

Saguru met Chikage’s eyes over her son and they had silent agreement; he’d work with her and her plan and they’d crush the organization as much as possible. For Kaito’s sake.

#detective conan #magic kaito #nltsa #not left to stand alone #my writing #fanfiction #bit shorter chapter but there's another extra soon

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theconservativebrief · 6 years

Link

A few days ago, I came across this rather striking finding from a recent public opinion survey by the Public Religion Research Institute:

It is striking for a couple of reasons. For one thing, the question is not about illegal immigrants, or even immigrants at all, it’s not about crime, or welfare, or jobs … it’s just about racial diversity as such. And more Republicans are against it than for it! (So much for “economic anxiety.”)

But the question is also notable for its unstated premise: that the growing presence of people other than whites in the US (what else could “increased racial diversity” mean in a majority white country?) is a subject of active political debate. It is not taken for granted as constitutive of a multiethnic democracy, but treated as a kind of add-on, an extra feature. “Is it working? Maybe we should roll it back. Let’s discuss.”

I tried to imagine how that question might strike, oh, someone whose grandparents immigrated from Uganda. That person is just as much a citizen as any other American. She did not choose to be black and cannot choose to be some other race. But now she hears that it is, at the very least, an open question whether her very presence — and her choice to have children, to further diversify America — is detrimental to her country. Is it bad to have her around at all, because she’s black? Let’s discuss.

It must be alienating to feel like one is on probation in one’s own country, that one’s presence is subject to the approval of white people. And it must be a familiar feeling, especially these days, for everyone who is not white (and male).

It occurred to me that white people rarely if ever experience questions like this, about their very legitimacy. Do they belong? Is having more of them around good for America?

One thing white people have never experienced is a poll on whether their presence in their own country is intrinsically detrimental.

— David Roberts (@drvox) July 24, 2018

In fact, I thought to myself, I bet asking the question at all — not answering it either way, just asking it — would make a lot of white people flip out. Imagine if they saw that on a poll!

So, as a bit of goofy provocation, I made just such a poll:

Do white people have a positive or negative effect on America?

— David Roberts (@drvox) July 24, 2018

I should have said “impact,” not “effect,” to mirror the original poll question. (Twitter really needs some kind of edit feature.) It was not the best zinger ever, and probably not a very constructive way to make a point, but whatever, it was only a tweet. I went and walked my dog.

As you’ve likely predicted, a lot of white people flipped out.

By the time I got home, the poll had spread into Trump land, the thread was flooded with MAGA tweeters, and white people were being decisively vindicated in the poll. By Wednesday morning, I was the outrage of the day on the entertainment site The Wrap and on a couple of right-wing news sites.

For reasons that remain somewhat mysterious to me, the MAGA brigade seems to view their victory in my poll — as of closing, 82 percent deem white people’s net impact as positive, so congrats to my fellow white people! — as a grand self-own on my part. Presumably because I cared about this poll, wanted white people to lose, and assumed my followers would send them down to defeat.

Those erroneous assumptions and many more are reflected in the Twitter thread beneath the poll, which I recommend to anyone with a masochistic streak. The words “cuck” and “soy boy” come up a lot, as well as a wide variety of colorful anatomical suggestions.

The funny thing is, I never said a disparaging word about white people. I only said that, while other groups are accustomed to being discussed and polled and judged, white people aren’t, and they would freak out if they saw a question like the one in the PRRI poll about themselves.

Then they saw one, completely missed the context, and freaked out, right on cue, thus proving my point in real time. But they won my Twitter poll, so … burn, I guess?

It’s all pretty silly. In 24 hours, everyone involved will have moved on to being outraged about something else. The only lesson I feel certain about: Twitter is terrible, and no one should ever tweet again, even though we all know we’re going to.

But maybe there’s a little insight to be gleaned. I do think the reaction illuminates a larger point.

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I kept up with the first few hundred responses (there are over a thousand now), and it’s interesting to see what they shared and where they differed.

Substantively (if you can call it that), there were two basic reactions. One is to say that I’m a racist, or liberals are the real racists, because they keep calling attention to race and dividing people up by race, while conservatives are just trying to be individuals and judge people by the content of their character. It’s the “No puppet! You’re the puppet!” of racism.

The other kind of response was, to paraphrase: Of course white people are good for America, white people are America, and America, like every other shithole nation white people conquered, would still be a shithole if not for white people.

(I’m not going to pluck out individual tweets and embed them here because I don’t want to drag individuals on Twitter into a public dispute like this; you can read the thread to see if I’m characterizing it accurately.)

These are mutually contradictory points, of course. “You’re the real racist, and white people rule.” But they are both very familiar in conservative rhetoric and both delivered behind the same aesthetic, using the same keywords, in the same jumbled tone of fury and contempt.

I didn’t answer the question I asked, but asking it was enough to trigger all the same outrage. Why is that?

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On his podcast, Vox’s Ezra Klein recently interviewed Yale psychologist Jennifer Richeson, noting she “has done pioneering work on the way perceptions of demographic threat and change affect people’s political opinions, voting behavior, and ideas about themselves.”

One of Richeson’s key insights is that reminders of coming demographic decline — the notion that America will soon become a “majority minority” country, with people of color outnumbering whites — not only cause increased hostility toward other racial groups (which might be expected) but also push white people in a conservative direction on seemingly unrelated policy questions like tax rates and oil drilling.

She also makes the point that the majority-minority narrative is bogus. By the time it is forecast to happen, who-knows-what demographic changes will have taken place, including changes in who gets coded as “white.” Since the idea is wrong and it freaks people out, she reasons, we should probably stop uncritically repeating it.

Still, what recent political evidence seems to show — and my Twitter brouhaha reflects in some small way — is that the effects Richeson found kick in well before news of any demographic apocalypse arrives (if you consider being a plurality rather than a majority apocalyptic).

Indeed, as research on “priming” shows, simply discussing race at all kicks up those effects among the racially dominant group. Or to put it more bluntly, in the US context: White people really don’t like being called white people. They don’t like being reminded that they are white people, part of a group with discernible boundaries, shared interests, and shared responsibilities.

After all, one of the benefits of being in the dominant demographic and cultural group is that you are allowed to simply be a person, a blank slate upon which you can write your own individual story. You have no baggage but what you choose.

In most situations in the US, a woman is a female person. Someone part of a racial minority is a black person or a Latino person, etc. Gay people. Trans people. Immigrant people. All these groups are [adjective] people, people with an asterisk, while a white, heterosexual male is simply a person, as generic as he chooses. His presence is taken for granted; it rarely occurs to anyone to question it. A white man in khakis and a polo shirt can walk into almost any milieu in the US and, even if he’s greeted with hostility, be taken seriously. His legitimacy is assumed.

The power and privilege that come along with that — being the base model, a person with no asterisk — are invisible to many white men. Simply calling them “white people,” much less questioning the behavior or beliefs of white people, drags that power and privilege into the open.

Some white men have even been known to rise above their level of competence. Timothy A. Clary/AFP/Getty Images

“Identity politics” — dragging around the baggage of one’s identity, being forced constantly to reckon with it, work around the stereotypes and discrimination it attracts, speak for it, represent it — is something that is forced on other groups, not something they choose. Do you think a young black man likes walking into a store knowing he’s already carrying the weight of a million suspicions and expectations, that he has to behave perfectly lest he invoke them? He’d probably like to be thinking about tax policy too, if he didn’t have to worry about getting shot by the cops on his way home. But that worry comes with his identity.

White men bridle at the notion of being part of a tribe or engaging in identity politics. (Ahem.) Alone among social groups, they are allowed the illusion that they have only their own bespoke identity, that they are pure freethinkers, citizens, unburdened and uninfluenced by collective baggage (unique and precious “snowflakes,” if you will).

No one else is allowed to think that — at least not for long, before they are reminded again that they are, in the eyes of their country, little more than their identity, their asterisk. No one else gets to pretend their politics are free of identity.

White people do. But simply saying the words “white people” is a direct attack on that illusion. It identifies, i.e., creates (or rather, exposes) an identity, a group with shared characteristics and interests. It raises questions (and doubts) about the group’s standing and power relative to other groups. It illuminates all that hidden baggage. Lots of white people really hate that.

In politics, we talk about groups all the time — minorities, immigrants, criminals, what have you — and by and large, no one blinks. The only time I get blowback is when I generalize about men or white people (okay, or baby boomers). Suddenly, “lumping people together” becomes a sin. Even among white liberal friends, I’ve noticed that merely saying the words “white people” causes a frisson of discomfort.

In fact, it’s difficult to think of a US setting in which the words “white people” are received neutrally. The term is always charged somehow, freighted with meaning and potential conflict, vaguely subversive. White people. White people. White people.

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What primes white people is simply the reminder that they are white people — that they are, and will increasingly be, one group of Americans among others, with particular interests, settling differences via democracy.

Right now, the white maleocracy is clinging to power, with disproportionate wealth and representation in Congress relative to its size. And all the while its leaders decry identity politics. They are used to being the default setting, people with no asterisks, no baggage, and they are extremely loath to give that up.

In fact, they want their America, the America where white dominance is so ubiquitous as to be unremarkable, back. They keep saying so.

As many have pointed out and this political era has made painfully clear, to a dominant demographic, the loss of privilege feels like persecution. Being just one group among many feels like losing. After all, what good is being white in the US, especially among poor whites, if some third-generation Ugandan immigrant has just as much control over their fate as they have over hers? If a poll asks whether they’re any good for her, rather than the other way around?

For the dominant group, being judged and asked to justify itself, as so many subaltern groups are judged and asked to justify themselves, feels like an insult. If you doubt that, go read this Twitter thread.

Original Source -> American white people really hate being called “white people”

via The Conservative Brief

#IFTTT #The Conservative Brief

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theachersbedsidedreamblog · 7 years

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Dream Colors And What They Mean (dreammoods.com)

Colors are very subjective and personal. Therefore first consider your own personal associations with the color in your dream. Does the color remind you of a particular person, a body part, a childhood toy, some object, etc? For example, the color yellow may remind you of the childhood school bus you rode in, but for someone else it may remind them of the yellow house they grew up in. Colors in dream can also convey emotions. Beige Beige represents the basics, the essentials and the barest form. It may also indicate your neutral or unbiased position in some matter. Black Black symbolizes the unknown, the unconscious, danger, mystery, darkness, death, mourning, rejection, hate or malice. The color invites you to delve deeper in your unconscious in order to gain a better understanding of yourself. It also signifies a lack of love and lack of support. More positively, black represents potential and possibilities. It is like a clean or blank slate. If the feeling in the dream is one of joy, then blackness could imply hidden spirituality and divine qualities. To dream in black and white, suggests that you need to be more objective in formulating your decisions. You may be a little too unyielding in your thought process and thus need to find some sort of balance between two opposing views. Consider the views and opinions of others. Alternatively, black and white dreams is a sign of depression or sadness. You may feel that there is not enough excitement in your life. TOP Blue Blue represents truth, wisdom, heaven, eternity, devotion, tranquility, loyalty and openness. Perhaps you are expressing a desire to get away. The presence of this color in your dream may symbolize your spiritual guide and your optimism of the future. You have clarity of mind. Alternatively, the color blue may also be a metaphor for "being blue" and feeling sad. If you are wearing light blue in your dream, then it symbolizes your creativity. You like to pace yourself in whatever you are doing. TOP Brown Brown denotes worldliness, practicality, domestic bliss, physical comfort, conservatism, and a materialistic character. Brown also represents the ground and earth. You need to get back to your roots. TOP Burgundy To see the color burgundy in your dream symbolizes wealth, success, and prosperity. It is indicative of your potential power. TOP Fawn To see the color fawn in your dream symbolizes kindness and a gentle heart. TOP Fuchsia The color fuchsia represents mediation and your connection to your spirituality. You are letting go of old attitudes and welcoming a new change. This color is also associated with emotional stability. TOP Gold The golden color reflects a spiritual reward, richness, refinement and enhancement of your surroundings. It also signifies your determination and unyielding nature. TOP Gray Gray indicates fear, fright, depression, ill health, ambivalence and confusion. You may feel emotionally distant, isolated, or detached. Alternatively, the color gray symbolizes your individualism. TOP Green Green signifies a positive change, good health, growth, fertility, healing, hope, vigor, vitality, peace, and serenity. The appearance of the color may also be a way of telling you to "go ahead". Alternatively, green is a metaphor for a lack of experience in some task. To "be green" means that you are environmentally conscious. Green is also symbolic of your strive to gain recognition and establish your independence. Money, wealth and jealousy are often associated with this color. Dark green indicates materialism, cheating, deceit, and/or difficulties with sharing. You need to balance your feminine and masculine attributes. TOP Hot Pink The appearance of hot pink color in your dream, represents sex and lust. TOP Indigo Indigo implies spirituality and divine protection. It may also mean deceit. TOP Ivory The color ivory, signifies your superiority over others. Alternatively, ivory symbolizes tainted purity. Something or someone is not as perfect as you had thought. TOP Magenta Magenta represents kindness and compassion. You are ready to come out of some dark time. TOP Maroon The color maroon is symbolic of courage, bravery, heroism, and strength. TOP Mauve To see the color mauve in your dream, indicates that you need to clear you mind of negative thoughts and think more positively. TOP Navy Blue Navy blue represents conformity and a lack of individuality. TOP Olive Green The olive green color symbolizes natural wisdom and Zen. You need to achieve peace in your environment. TOP Orange Orange denotes hope, friendliness, courtesy, generosity, liveliness, sociability, and an out-going nature. It also represents a stimulation of the senses. You feel alive! You may want to expand your horizons and look into new interests. TOP Peach Peach is the color of innocent love intermixed with wisdom. It also implies your caring nature and how you tend to the needs of others. Alternatively, the dream may imply that things are "peachy" for you. TOP Pink Pink represents love, joy, sweetness, happiness, affection and kindness. Being in love or healing through love is also implied with this color. Alternatively, the color implies immaturity or weakness, especially when it comes to love. Consider also the notion of getting "pink slipped". Pink is also the color for Breast Cancer Awareness. If you dislike the color pink, then it may stem from issues of dependency or problems with your parents. TOP Purple Purple is indicative of devotion, healing abilities, loving, kindness, and compassion. It is also the color of royalty, high rank, justice, wealth and dignity. TOP Red Red is an indication of raw energy, force, vigor, intense passion, aggression, power, courage, impulsiveness and passion. The color red has deep emotional and spiritual connotations. Consider the phrase "seeing red" to denote anger. Alternatively, the color red in your dream indicates a lack of energy. You are feeling tired or lethargic. Red is also the color of danger, violence, blood, shame, rejection, sexual impulses and urges. Perhaps you need to stop and think about your actions. TOP **See The Meaning In Action: "Red Eyes" Silver Silver represents justice and purity. It is symbolic of some protective energy. TOP Teal The color teal signifies trustworthiness, devotion and healing. It is also indicative of spiritual guidance and teacher. TOP Turquoise Turquoise is symbolic of healing power, karma and natural energy. It is often associated with the sun, fire, and male power. If you have negative feelings toward this color, then it indicates that you are shutting off your emotions and not letting people in. You fear change. TOP Violet Violet denotes high spirituality, religious aspiration, purification, affection, gentleness, charm, and peacefulness. You have a sense of intuitive understanding and special intimacy. TOP White White represents purity, perfection, peace, innocence, dignity, cleanliness, awareness, and new beginnings. You may be experiencing a reawakening or have a fresh outlook on life. Alternatively, white refers to a clean, blank slate. Or it may refer to a cover-up. In Eastern cultures, white is associated with death and mourning. TOP Yellow The color yellow has both positive and negative connotations. If the dream is a pleasant one, then the color yellow is symbolic of intellect, energy, agility, happiness, harmony, and wisdom. On the other hand, if the dream is an unpleasant one, then the color represents deceit, disgrace, betrayal, cowardice and sickness. You have a fear or an inability to make a decision or to take action. Your desire to please others is at the risk of sacrificing your own needs and happiness. As a result, you are experiencing many setbacks. To dream of a yellow room suggests that you need to use your mind. You are feeling mentally stimulated

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theconservativebrief · 6 years

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A few days ago, I came across this rather striking finding from a recent public opinion survey by the Public Religion Research Institute:

It occurred to me that white people rarely if ever experience questions like this, about their very legitimacy. Do they belong? Is having more of them around good for America?

One thing white people have never experienced is a poll on whether their presence in their own country is intrinsically detrimental.

— David Roberts (@drvox) July 24, 2018

In fact, I thought to myself, I bet asking the question at all — not answering it either way, just asking it — would make a lot of white people flip out. Imagine if they saw that on a poll!

So, as a bit of goofy provocation, I made just such a poll:

Do white people have a positive or negative effect on America?

— David Roberts (@drvox) July 24, 2018

As you’ve likely predicted, a lot of white people flipped out.

Then they saw one, completely missed the context, and freaked out, right on cue, thus proving my point in real time. But they won my Twitter poll, so … burn, I guess?

But maybe there’s a little insight to be gleaned. I do think the reaction illuminates a larger point.

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I kept up with the first few hundred responses (there are over a thousand now), and it’s interesting to see what they shared and where they differed.

I didn’t answer the question I asked, but asking it was enough to trigger all the same outrage. Why is that?

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Some white men have even been known to rise above their level of competence. Timothy A. Clary/AFP/Getty Images

In politics, we talk about groups all the time — minorities, immigrants, criminals, what have you — and by and large, no one blinks. The only time I get blowback is when I generalize about men or white people (okay, or Baby Boomers). Suddenly, “lumping people together” becomes a sin. Even among white liberal friends, I’ve noticed that merely saying the words “white people” causes a frisson of discomfort.

Shutterstock

In fact, they want their America, the America where white dominance is so ubiquitous as to be unremarkable, back. They keep saying so.

Original Source -> American white people really hate being called “white people”

via The Conservative Brief

#IFTTT #The Conservative Brief

0 notes