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demonslayedher · 3 years

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The Sound Pillar past, I have heard that explore a bit in databook about being ninja.

Also what happened his sibling that still remain.

Also what there react

Combining info from the fanbooks and Chapters 80, 87, and 90 we get the following narrative of Uzui Tengen and his family, as complete as I could fill it in. It's always possible the anime version will expand and give us more, but here's what I've got in chronological format.

Uzui Tengen's father was the leader of their clan, one of a few ninja clans who lived in close community. Ninja were regularly sent on missions, but it is not clear what those missions were. Women and children were also expected to undergo strict training and go on missions, but women were primarily only valued as baby-makers, and it was common for one man to take multiple wives. The wives, at least in the Uzui case, were chosen upon agreements between families. (For more commentary on the unusual and cult-like nature of the Uzui ninja clan, please see this post.) In Chapter 80, Makio recalls how she never used to be afraid of dying because she was so brainwashed to believe her only value as a kunoichi (female ninja) was to put her life on the line in support of the strong male ninja. Tengen is the oldest of nine children. Of note, Fanbook #2 states that he has a mother and father from whom the nine children came, but as multiple wives is the norm in this village and Uzui was 15 when they were forced to fight each other, I think it's reasonable to assume many of them were half-siblings (even if all with one very busy wife, that would make the youngest one only around 7~9 years old or so, by my guess. But, it doesn't seem unreasonable in this clan that an 8-year-old would be expected to take part in this fight.)

Tengen had his three wives by the time he was 15. Since he is 23 when canon takes place and Hinatsuru (from a ninja clan second in rank to the Uzui clan and who has a good balance of core ninja skills) is 21, Makio (physically a highly capable ninja but her short temper causes her to fail her missions and yes, she is Tengen's cousin, please restrain your knee-jerk reactions and accept the cultural difference and move one) is 20, and Suma is 19 (and yes, Fanbook #2 said she likes both men and women), that means his wives were respectively 13, 12, and 11 when they fled the village. As Suma's younger sister was originally the one being considered as a bride, this means they were willing to marry off girls even younger than that. See this post for more commentary on multiple wives in the Taisho period, and as an added note, the legal age for women to marry in Taisho was 16. The Uzui ninja clan was entirely counter-cultural in the first place, though, so this doesn't apply very directly to them. Furthermore, due to their curse, the Ubuyashiki clan had very usually early expectations for children to wed, and they always run a not officially recognized organization. Otherwise, most of the cast seems to follow more usual Meiji/Taisho family patterns. Of the nine siblings, three of them died before Tengen turned 15, simply due to the lifestyle. When Tengen was 15 (clarified according to Fanbook #1), Tengen's father pit the remaining six siblings against each other so that only the strong would remain. They were all concealing their identities and did not know they were fighting their own siblings. According to Fanbook #2, Tengen killed two of them, and his younger brother (second oldest) killed another two, and Tengen was pissed when he realized what was happening. He couldn't bring himself to kill his remaining brother, though that brother was just like their father when it came to his values that only the strong should survive, and he really didn't care about killing his own flesh and blood. This was when Tengen decided he didn't want to live like this, and he took his wives and fled. For a while (according to Fanbook #2), he often said he should go to hell, but this made Makio angry, it made Hinatsuru cry, and it made Suma bite him so he stopped saying that. He did continue to think that he should eliminate the rest of this evil Uzui clan, but he could never bring himself to kill his father and little brother. (So, fanfic writers, grab your pens, we can assume the Uzui clan is still active.) Anyway, once he was free of that lifestyle where he had to constantly hide his presence, he thoroughly rebelled and embraced the flamboyant.

It's unclear when and how Tengen learning Breathing technique. It's possible there was knowledge of this technique in some form or another among the ninja (though his wives don't seem to display it), and it's also possible he learned from a cultivator. Sound is an off-shoot of Thunder, but it's unclear whether Sound was established before he came along, or if he created this Breath to make extra use of his keen hearing. (What I would give to see Tengen/Kuwajima interactions, preferably arguing about which Breath is superior.) It's unclear how much time passed between fleeing the clan and joining the Demon Slayer Corps. Given his ninja skills, as soon as he found out about the Corps (and perhaps by extension, demons), passing the Final Selection was probably a breeze for him. It was either right after the Final Selection (and therefore still waiting for his uniform), or just as he had made up his mind to join the Corp that he declares his new rule to his wives: their lives are #1 priority. #2 priority is morally upright humans, and #3 is Tengen himself.

And they're like, "whaaaaaaaat."

But sure enough they all accept the demon slaying mission, and before long, Tengen and his wives meet Oyakata-sama one fine spring day, I assume upon attaining the rank of Sound Pillar. Oyakata-sama sympathizes with how hard it must had been for Tengen--for all of them--to go against what they were raised to believe, and to fight to protect people in what they've deemed a morally upright course of life. Tengen's like, "this guy gets it" and becomes as big a fanboy as any other Pillar is for Oyakata-sama. It's purely conjecture, but I'm guessing he and Oyakata-sama both were somewhere around age 15~17 at this meeting (again, we don't know how much time has passed since Tengen left the ninja. Due to Kanae and Tengen's shared presence at later flashbacks, he couldn't had been older than 18~19). Tengen goes on to be super popular. The most popular Pillar in the Corp, Taisho Rumor has it. His wives all help on missions too, but there's an agreement that they'll get out and live a happy domestic life once they've bagged an Upper Moon--enough of a contribution to, perhaps, to feel they've atoned for the sins they committed as ninja (or at least, this was how Hinatsuru proposed the idea). Once the arm gets chopped and the eye gets cut, Tengen gains a really good excuse for retiring, but it was just his luck to have declared three Tsuguko within hours of his forced retirement. (Like, I doubt this counts for anything. And if he ever calls them that again his trio of Tsuguko are probably going to be more confused than anybody else.) Anyway, Nezuko brings him back from the brink of poison-induced death and he basically walks home. While still involved in the Corp in training the rank and file members and guarding Kiriya upon his becoming Oyakata-sama (meaning he, like Himejima, was trusted with knowledge in advance about Kagaya's very flamboyant exit plan). After that he truly goes into domestic retirement mode and makes friends with a fellow lop-sided former Pillar, however drab he always thought that person was. He takes enough of a liking to said former Pillar that he brings him along on co-ed hot spring dips and lets him hold his first child. Which of the three wives birthed the first child, we don't know. And then one of his descendants goes on to be a flamboyant gymnast, but still gathers once a year under Ubuyashiki's leadership to perform the Sound Breath forms as a sacred Kagura dance. And we still don't know what became of Tengen's brother. For all we know, modern gymnast Uzui Tenma and his six other siblings regularly avoid explosive attacks on their life from a generations-held promise to eliminate them. PARKOUR---but more flamboyant. (I hope it's obvious that I am being silly here and have no canon basis for this.)

#no where in this did I mention the Muscle Mice #I am disappointed in my myself for I love the Muscle Mice #Uzui Tengen #kny references #kny reference #kny fandom theories and meta #Uzui Hinatsuru #Uzui Makio #Uzui Suma #Kimetsu no Yaiba #Demon Slayer

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grimmywrites · 3 years

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So, about Infinite Darkness...

I’m gonna try to be as succinct as I can (I failed) about all the problems I had with it, but my list is pretty long... Yes, this has spoilers. Let me state upfront: if you’re not a hardcore RE fan, you can skip the show. Below I’ll tell you why.

Story: What a mess. Honestly, they turned me off right at the beginning with all the military stuff. It’s the same reason people didn’t like Chris’ campaign in 6; didn’t they learn anything from that? So, the story wasn’t the best thing I’ve ever seen. Honestly, it had more plot holes than anything and so many points where I went: “I don’t care about this.” Again, it was a jumbled mess. Capcom, hire me and I’ll do better, I swear. Let’s just sum it up by saying it’s a rehash of things we’ve seen SEVERAL times in the series before. If you’re gonna do it AGAIN let’s make the story unique and interesting. Oh, there are shady people in the military that want to use bioweapons in war? Okay, we’ve known that since the first game. We’ve seen it time and time again. Look to re8′s ending for example: the BSAA are now starting to use engineered soldiers - THAT was a reveal that was far more interesting. The way it was addressed and overcome in this show was just... so lackluster. Ultimately, it just felt like this entire thing didn’t need to happen. It changed nothing, it impacted nothing, and I’m aware that it really couldn’t since it was after re4 and before re5. There was just no lasting point and all the ‘themes’ (if you can call them that) made absolutely no sense, but I guess I’ll get into that with the characters? Pacing: Absolutely god awful. One minute we’re in the White House fighting zombies then I blink and it’s over and I’m like: Oh, we’re done? Another we’re in a sub and then I blink. Oh, that’s over, too. Also, the creators must’ve taken a page from the last couple of seasons of Game of Thrones (which is an abysmal idea, don’t fucking do that) because with a few cuts here and there we went from Guam to China back to DC. Guess everybody learned how to teleport so they got exactly where we needed them to for the “climax”. Let’s talk about that climax: There was none. Let’s look at Degeneration and Damnation (no I won’t talk about Vendetta). Both had their weaknesses but Leon and the climaxes were BADASS. Leon doing parkour in Degeneration? Leon going against Lickers and the huge Tyrants in Damnation? Those were amazing scenes. He did a few cool things here and there but nothing that got more of a laugh out of me. My man is coming off re4 where he rampaged through a village, a castle, and an island of mutated creatures to save one girl. C’mon now. Characters: By now (if anybody is even reading this rant), you’ve noticed that I’ve talked a lot about Leon. But what about Claire? Yeah, they lied to us about them working together. She got sidelined again. A lot of people are upset about this -- and yeah, it sucks because I do love Claire. Leon has just happened to be my favorite since 1998 so I wasn’t as heartbroken. That doesn’t mean I’m not disappointed, I’m just not very surprised. Leon - My main problem with Leon is Nick, his voice actor. I’m so sorry for all those who like him, but he just isn’t good enough for me. Paul Mercier (re4, Degeneration, Darkside Chronicles) and Matt Mercer (Damnation, Re6, Vendetta) would have been more appropriate. Nick tries his best, but he’s just too soft sounding to be post-re4 Leon. This is a man who is quipping one-liners left and right a couple of years ago. Now he’s barely smiling and doesn’t feel confident at all, and I think a lot of that is because of his portrayal. There are times where the lines hit, but more often than not they fall flat. I never felt that way with Paul who is my favorite Leon or Matt who gave emotional performances every time. Also, his decision at the end? I can understand it, but explain to Claire! Claire - I like Stephanie as Claire, I have no problems with her. She makes her sound tough and ready to do what she thinks is right. Unfortunately, the story completely sidelines her and makes her role obsolete. Everything she uncovers (because that’s her role apparently, just there to Nancy Drew) is already told to us through flashbacks and other characters. Why even have her? Was it just to show us WHY her and Leon don’t talk often? A waste. Shen Mei - I don’t care. I felt nothing for her. They tried really hard, but they just failed to flesh these new characters out and when her time was up I once again went: Oh? That’s it, then. ‘Kay. I think I laughed a bit, sorry girl. Her whole plotline was to get that chip in Leon’s hand, nothing more. Jason - I don’t care. A character I thought I felt sorry for with his ptsd but nope. Once his story unfolded - messily, I might add (I hate the REPEATED flashback shit. Tell me once and stop teasing me.) I just went... okay, what the hell is your plan? To spread fear? ‘Kay. It was dumb and made no sense. What, he wants everyone to feel terror so they know? It needed to be clarified. It’s like they couldn’t figure out more synonyms for fear and terror. So, what? It helps keep Leon from going public with the chip and that information? Because he knows it’ll just cause mass hysteria? And then you’ve got Claire’s side - she’s not an agent and she believes the people have a right to know. They’re both right, but there’s no goddamn communication between ANYONE in this show. I just felt exhausted by it, nothing else. Not to mention it’s useless angst because of the plot of Degeneration. Wilson - Our bad guy. Let’s just sum up really quickly in case people were confused by the plot: He was putting infected soldiers into war zones so that even after they died they’d kill anybody involved, then he’d bomb the area and clean up the evidence. These soldiers didn’t show any symptoms because they had inhibitors that kept the virus at bay until they died, so they had to take regular shots to stay human. He’s the one who gets the zombies into the white house so that he could blame it on China and get the US into a war with them. That way he could send in his soldiers and infect the populace. From there, he’s the only one with the cure so he could rake in LOTS of money selling it to the world. AKA: he wants to use the US military to infect everyone so he can make a profit. He gets infected by Jason and gets away... then meets up with someone who gives him an inhibitor. This someone is working for Tricell, the big bads of re5 who work under Wesker. So it leads right into the fifth game. That’s all he is, a tie in and yet another example of someone in power trying to profit off the viruses of the RE world. Honestly, nobody else is worth mentioning. Animation: They’re getting better at it. Leon and Claire looked especially pretty, but there’s still a stiffness here and an issue with everyone’s mouths while they talk. I want to praise how different SOME of the characters look - the president and his aides all look appropriately aged and grizzled and distinct. Same with Jason. Other characters (side characters mainly) kinda look generic. Shen Mei for example isn’t very distinct. I mean, her grandpa and brother (both one scene wonders) were more realistic looking than she was. Even Claire - they gave her a bigger nose and made her look more in line with her Revelations 2 model (thank god I love that model). Movement was pretty fluid, I wish we’d seen more fighting and cool action -- though not to the extent of Vendetta. Maybe that’s what they were trying to avoid, but it didn’t make it any fun to watch. Enemies: This is the last thing I’ll comment on. The zombies were fine - they always are. I heard a ton of reused sounds from remake2, as well, but I thought of it as an Easter Egg more than anything. They looked good, their gore was good, all set there. Problem was, they were basically the only bad guys. That’s a huge fucking disappointment. I know people recognize this series as ‘the one with the zombies’ but that’s not true. Every game (save 7) had MULTIPLE enemy types all created through bio engineering. In this show we see three types. THREE. Zombies. Zombie rats - a one-scene wonder that Leon dispatches fast and easy. I’ll admit, they looked cool but there was nothing else to them. “They’re a bioweapon” and then Leon fries them all with some electricity and we’re done. Jason’s mutated form. Okay, I have to admit, I really loved his design. He was cool, I liked that he could talk and emote. But, other than that? He didn’t DO anything cool. He mutated once and hopped around a lot. That’s it. I mean, a bioweapon that keeps his mental capacities? C’MON! We could’ve done so much more with him. Again, this goes back to why the climax was so bad -- he and Leon didn’t fight. One jumped, the other ran around to catch up and fired a few bullets and a rocket at him. Then he used an acid bath to finish the job. (Also, explain to me WHY he mutated into a tyrant-like creature while everyone else with that specific virus was another form of zombie? We see Jun (Shen’s brother) mutating almost crystal-like at one point but... what? You leave them off for a while and they turn into crystal zombies? Make it make sense.) I’m sure there’s more to say, but honestly, unless you’re a hardcore RE fan like me, I’d say you can skip it. It wasn’t a fun ride, there weren’t any stakes, it wasn’t emotional... it just... was. I will end on one good note that made me smile, though: I loved seeing the Ashley Easter Egg.

#resident evil infinite darkness #resident evil: infinite darkness #resident evil #my opinion #Leon S. Kennedy #leon kenney #claire redfield

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doomonfilm · 3 years

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Thoughts : Willy’s Wonderland (2021)

Nicolas Cage has built a career out of occasionally interspersing his unique characterizations in random films with a sort of inverse approach involving an unchained Cage as the figurehead of a story so off the wall that only Cage could carry the weight of it. That’s why it was no surprise that an immediate groundswell of buzz and anticipation occurred when Willy’s Wonderland was announced. To the average movie-goer, any opportunity to witness a Cage-rage (as one of my coworkers refers to the Cage approach) is a welcome one, and seeing him beat down human-sized android puppets sounds too good to miss out on. For those aware of Five Nights at Freddy’s, however, the film seemed like an attempt to steal the thunder from a film that will automatically have a built-in fanbase if (or more likely, when) the trigger is pulled on production and release. That being said, Hulu came to the rescue and picked up the streaming rights to Willy’s Wonderland, meaning I had no excuse for not seeing this fever dream of a flick.

youtube

What we are looking at is a unique two-fisted cash grab attempt, and luckily, each fist contains the main elements worth talking about in this film, as honestly, there is not much going on here. We’ll start with the elephant in the room before diving into the obvious realm : this is basically the Wish version of a Five Nights at Freddy’s film, with a healthy dose of R.L. Stine-inspired lore building tossed in to give the film a sense of purpose or narrative thrust. First and foremost, there is BARELY a narrative arc to this film, and many of the story beats feel tacked on purely for the need of having the parts of the story that aren’t Willy’s-centered still feel like they’re moving forward. With Five Nights at Freddy’s already being a dark take on the real-life Showbiz Pizza and Chuck E. Cheese’s establishments that dot the nation, taking it one step deeper with Willy’s Wonderland gives the film’s creators a false sense of agency in terms of the need for backstory. We are literally dropped into the proceedings with the barest bones of a flashback sequence before being asked to buy into no less that 4 sets of character stories, three of which consistently managing to bring the portions not involving the centerpiece of the show to a cringe-filled crawl.

Speaking of the centerpiece of the show, the other obvious attempt to bring curious viewers to Willy’s Wonderland is the lure of the most curious star in the Hollywood system : the enigma that is Nicolas Cage. It’s no secret that Cage has built up an extremely varied career of roles that fall all over the highlight and lowlight spectrum, many of which appear to be blatant cash grabs to keep him financially in a head above water situation (allegedly, as I am not his accountant). Willy’s Wonderland falls completely into the same realm for Cage of films like Jiu Jitsu, the upcoming The Unbearable Weight of Massive Talent, Left Behind and so on, where the addition of Nicolas Cage is meant to lift the credibility of the content by association, and the anticipation of Cage going off the rails is implied by his connection. With this in mind, I’ve got to give it to Cage for continuously being able to cash in on properties like this while still managing to maintain some version of star power, as trying to imagine the likes of Sylvester Stallone, Brendan Frasier, Johnny Knoxville or some other ridiculously outlandish casting immediately makes this film way less interesting.

From the outside looking in, it appears that the budget was mainly allocated to two realms : the animatronics and however much it cost to include Nicolas Cage in the cast. The work on the animatronics is one of the few saving graces for Willy’s Wonderland, as each puppet has just enough of a unique look to have them stand out from one another. The movement of each figure matches their personality, and the gore effects for each animatronic kill really give those highlight moments additional impact. The visual look is otherwise a bit dry in terms of color timing... there is quite a bit of eye-catching fluorescents once we enter the Willy’s establishment, but everything in the film (including these sequences) are so washed out that it mutes the effect... my guess is that they were looking to capture a living and breathing comic book look, which is accomplished, but somewhat in odds with the tone of the film. A nod must be given to the score and soundtrack creators for attempting to create a small bank of original jingles and in-world diegetic music rather than going for stock tunes.

Giving Nicolas Cage top billing is an interesting choice... he gives you a textbook Cage performance full of odd choices, intense but hilarious stares and overconfident physicality, all without uttering one word (to my recollection). Beth Grant gives her down-home, over the top best as a literal plug-in character meant to explain the existence of Liv Hawthorne (who we will get to). David Sheftell, Ric Reitz and Chris Warner all bring in some much needed levity in the form of outrageous caricatures of standard horror character tropes. Unfortunately, the thing that really drags the film down is the inclusion of the teenagers in the story : Emily Tosta is given very little purpose as Liv Hawthorne, as her character could have literally been one of what is implied to be scores of kids sacrificed to Willy’s Wonderland, while her counterparts (Kai Kadlec, Caylee Cowan, Christian Del Grosso, Jonathan Mercedes and Terayle Hill) are, ironically, nothing but sacrificial lambs, both symbolically in terms of the narrative and literally in terms of being characters. Jiri Staneck, Jessica Graves, Taylor Towery, B.J. Guyer, Chris Schmidt Jr., Billy Bussey, Christopher Bradley and Duke Jackson must all be given props for their animatronic performances.

Willy’s Wonderland may almost certainly go down as the most singularly unique and interesting viewing experience of the year, short of someone like Charlie Kaufman releasing a new film. I don’t ever see myself returning to this film in a capacity outside of sharing it with friends or watching it “impaired” (if you catch my drift), but don’t let my bit of a beating that I gave the film fool you... this isn’t a bad movie... I’d say it’s an unnecessary guilty pleasure, if nothing else.

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fauzhee10069 · 3 years

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JoJolion chapter 107 review (starring Higashikata Caato)

Why not? This chapter does star her.

We’re finally almost free from the crap of Caato’s hypes because she finally does something right now. This chapter is about her fight against Tooru and more about her character.

Previously related post:

The Long-Awaited Most-Hyped Character Finally Made Her Appearance: Caato

MAJOR SPOILER AHEAD!! Don’t read more if you haven’t read the newest chapter (107) yet and don’t want to get spoiled!

JJL chapter 107: Kaato Higashikata's "Attack"

First, I’d like to try her recipe.

Actually, the reason she is in Higashikata’s house right now is to deliver Jobin’s favorite dish made by her… what a lovely mother. Too bad, instead she found her son’s dead body.

This actually should debunk some Caatofags silly idea of her as an evil person who doesn’t really care about her family. When it looks like more about Jobin, I think she does care to her daughters as well when she asked them to stay in their place.

Also, the speculation of Tooru’s tricking Caato also got debunked, obviously because Yasuho is there to tell her about what was really going on.

Yasuho in this chapter mostly just explains anything happened and her explanation regarding rock-humans and New Locacaca is because she has no reason to assume that Caato already knows about these things.

I like how Caato looks calm when Tooru was pointing knife (more like saw I think) at her, those tears in her eyes are still tears of grief over Jobin’s death, not due to her fear.

read it from left to right -->

That really sounds like a villain speech and it is said by Tooru. At this point I’m getting even more conviced that he is the true main villain of part 8.

Caato then revealed her Stand, the name is 「Space Trucking」 and I have explained its newest mechanism in my other post, so I won’t go in depth in discussing her Stand here. In short, she uses her Stand to hide some of Tooru’s limbs to incapacitate him.

Apparently, the one who called her “K-Kaato-san” in the last page of previous chapter was Yasuho and Tooru also knows about her (Caato). Just like what Maako, the girlfriend of Ojiro said that the news about her murdering a child 15 years ago is a well-known sensational news in Morioh, so it is not surprising if several characters in JJL know her.

I like Caato’s composure and softness here, kinda reminds me of Jolyne… yeah, she has been compared to Jolyne numerous times, her intro in prison is definitely a Jolyne’s reference. Araki once said that Norisuke IV is the JJL version of Josuke in part 4, as his elder counterpart so, what if Caato is also the elder counterpart of Jolyne in JJL? That kinda makes sense.

Caato already knows about the New Locacaca and so, does this mean that Caato was hiding another pot of the New Locacaca?? Or is that the same pot that Tooru and Yasuho had been fighting for in previous chapters?

My guess is that it is the ‘same’ pot, look how the pot that Caato reveals does not have any fruit either. I think Caato is just playing with her Stand’s ability while talking about the New Locacaca or… perhaps, while she looks like she is playing, she actually manages to hide and steal a part of the plants(?)

Look, a flashback of Caato and Jobin! I think it officially becomes her trait to always barge in unannounced and startled whoever was in the room. They were in Jobin’s beetle collection room where he hid the New Locacaca there.

Look at the window that still looks intact there, then this flashback happened before the fight between Jobin-Tsurugi and Ojiro.

This is so wholesome this scene basically tells that no matter how old Jobin is he is still Caato’s baby.

Okay, I’m not into symbolization but now I want to talk about it just a moment, while this could be simply a JoJo thing that Jobin was wearing such impractical design for the sake of fashion, with that outfit he basically locked his own wrist which might symbolize of being handcuffed.

If you’re willing to take a look at the flashback scene in chapter 64, Jobin started wearing such outfit when he was a teenager right before Caato got caught by the police. Is this a form of Jobin's empathy for his mother who was in prison? Even though this symbolization is slightly missed because he was already wearing that outfit just before Caato got caught.

Told ya, the window still wasn't broken yet.

So, Jobin eventually told everything to his mom, about the New Locacaca, its equivalent exchange ability, the orchard burning and Tsurugi’s involvement.. and the most important thing that’s being revealed here is that the sap has the same power as the fruit! Those beetles show that we don’t necessarily need to have the fruit to get the effect of perfect equivalent exchange!!

Also, this actively debunk those wild theory of Caato being the mastermind of everything, she did not seem to possess any Locacaca before, she did not know the existence of the New Locacaca (and possibly about the rock-humans either), she did not know what truly happened during the orchard burning, she doesn't look like she is a secret rock-wahmen either, etc.

She is not as mighty as those Caatofags want her to be, however…

…her character remains consistent since the early of her introduction, that she actually had a conflicting view with Norisuke IV regarding the family’s ethic and moral value. This is about what we call “selflessness vs selfishness” again, and Caato’s view is more dominant in influencing Jobin.

Caato is not the mastermind controlling Jobin like a puppet like those Caatofags was promoting. Everything Jobin has done in this story is of his own will, starting from his cooperation with rock-humans, the struggle of the New Locacaca and the burning orchards. However, Jobin's way of thinking, motivation and ambition have been influenced by Caato's views and how she has nurtured him.

And in this chapter, Caato is being supportive towards Jobin like she had always been (read: chapter 59 and 64). Plus, Caato and Jobin’s Stand names being references to Deep Purple’s songs may signify their close relationship.

Looks like she just basically activated her Stand on the plant, it could be hidden whenever someone tried to come and get it but it wasn’t truly activated, at least that’s what the translation implies.

read it from right to left <---

「Wonder of U」 starts appearing behind Caato, does it mean that Caato really start harming Tooru? Another new feat of her Stand’s ability that it is able to fully hide a living being, which she uses to hide her grandson Tsurugi.

She makes Tooru to do equivalent exchange with dying Tsurugi while 「Wonder of U」is seen rushing towards Caato… end in cliffhanger. Probably my favorite page here. Basically, what Caato does is ‘two birds in one stone’ movement, breaking the Higashikata family’s curse by saving her grandson while eliminating Tooru.

And what could happen next?

My thought…

This chapter shows how awesome Caato truly is, starting from her soft side as a mother to her toughness against the enemy.

Araki is really doing her well, I thought there was no need to turn her into an antagonist with great power/influence or a silly plot twist that this unassuming grannie is the mastermind behind anything.

Caatofags had once described her as a mother who directs Jobin like a puppet and supervises Tooru as her subordinate whereas in reality, Araki has been portraying the three of them in a more balanced way rather than one being above anothers.

I really like her relationship with Jobin, I once said that they would make good partners if they were to be the final antagonists after Tooru, but sadly at this point I feel that Jobin is permanently dead.

There won’t be Yoshihiro-Yoshikage(like)’s cooperation against Josuke in this part… however, Caato continues to carry out her supportive role towards Jobin by trying to fulfill his main goal of curing Tsurugi and breaking the family curse.

Even so far, I haven't considered Caato as an antagonist, I still think of her as a 'wild card' for Josuke and Yasuho.

The mystery and next chapter prediction…

If this goes well, it looks like Caato's action in doing equivalent exchange to Tooru and Tsurugi will succeed in curing Tsurugi. The cracks on Tsurugi's face seemed to be diminishing. But with the 「Wonder of U」 following behind her, it shows that Caato's life too is in danger.

Then what will happen to the fully healed Tsurugi? Considering that the fusion happened to Josefumi and Kira does not make any of them 'alive' with their consciousness and instead creates a new consciousness we called “Josuke”, the new Tsurugi might not be the Tsurugi we know all along.

Besides, the equivalent exchange that happened on Tooru and Tsurugi is an exchange between rock-human and normal human and so far we still don't know what the effect will be. Will this be the answer to Tsurugi's weird behavior in the flashforward of chapter 83?

Then I also questioned about the harvest countdown of the New Locacaca in the flashforward, that in the previous chapter (106), the fruit in the pot was already gone. But in this chapter, there could be a possibility that Caato might hide the other parts of the plant (perhaps some branches) using her cards.

I think that there is starting to appear a slight hint linking the current events to the flashforward in chapter 83.

#jojolion spoilers #chapter review #kaato higashikata #tooru jojo #tsurugi higashikata #jobin higashikata #jjba part 8 #jojo's bizarre adventure #caato

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miraculouscontent · 4 years

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I just saw Felix, I am enraged beyond belief, and right now, I want someone to tear this episode and Astruc a new one. And who better than the Salt Fairy?

s-sALT FAIRY?? JDNGKFDG

WELL, WHO AM I TO DENY SUCH A REQUEST?

[Vanilla Graham Crackers]

So, I totally understand the idea that making new models is hard and it’s best to cut corners where one can, but that should only be done if it can be used in a way that doesn’t - you know - reuse two important character models and add almost nothing new to them.

To start off, you have Amelie, Emilie’s twin sister who they obviously reused Emilie’s model for.

Then you have Felix, whose mother’s genes must’ve kicked the tar out of his father’s genes (and the same must’ve happened to Adrien unless Gabriel’s model is reused for Felix’s father’s too if we ever get a flashback/picture but we’re not getting into that) considering that Felix looks like Adrien’s twin rather than Adrien’s cousin (if they pull some sort of thing about Felix actually being Adrien’s twin just as some sort of cheap “gotcha,” I swear–though I doubt it because Amelie has a line about them looking “just like twins” which would be strange for someone who would’ve already known they were twins unless she doesn’t know that they’re twins either because some weird things happened and–I’m getting off-topic…).

Already, these are both new characters who are being introduced in this episode that are edited versions of previous models we’ve seen on the show.

The thing is that I don’t care much if the models are reused, but they should at least have facial structures that look different enough to make them their own characters. At least reverse Amelie’s hair, gosh darn it.

Even Felix, like–I don’t even think any of the characters would find it odd if the “Adrien” in the video had different cheekbones or a different jawline. Felix could even have blue eyes but edit the video to make his eyes green (and then make an excuse as to why his eyes are blue when the villains show up). The Adrien model could be reused but still adjusted so he at least has a different freaking eye style, since those are usually the big thing that gives away the feeling of, “oh, the model is just reused.”

I mean, it makes sense for Felix’s name to be in the title of the episode, but that’s only because he actually got different hair and a different outfit, since even the people who get akumatized in this episode are reused.

Lady Wifi, who’s been seen multiple times in Season 1 and 3 now.

Princess Fragrance, who’s been used the least out of everyone else but has still been seen multiple times (counting scarlet edition Princess Fragrance).

And Reflekta, who’s been used multiple times even if you’re only counting Season 3. Reflekta even makes the least sense out of all the characters since she’s a bad combination with the others. Dark Cupid would’ve even been a better pick since Lady Wifi could freeze someone and then either Dark Cupid could get a clear shot or Princess Fragrance could force them to inhale her perfume.

They don’t even have a proper unique theme to them, like a design that they all share to show that they’re a team. It’s just a repeat of their past akuma forms except Lady Wifi doesn’t have to worry about being defeated in the same way as before I guess (not that they try it anyway)? I don’t question Alya being the only one to get an upgrade because the tablet is hers, but when we’ve already had an episode where a tablet was used as a “hey akuma, aim here” object, and the people who held it combined in that one because they had a shared goal, only to have this one be different and just turn them into separate forms?

Yeaaaah, no, that’s weird. That’s just weird. It’d be one thing if they were sure that there were two Adrien around and they needed to be separated so they could cover multiple people, but they’re not aware that Felix is around nor that he disguised himself as Adrien, requiring them to cover multiple grounds (and even then, that doesn’t need three of them).

I’ll say again that I don’t mind repeat akuma, but it has to make sense. Stormy Weather 2 and Gamer 2.0 made sense to come back even though I didn’t like their episodes or the messages behind them, but Reflektdoll and the Trio of Punishers here?

No, just–no.

(this is also once again keeping the “girl squad” quota in place which everyone knows I dislike; I just want the boys to be more involved sometimes and not have anyone’s involvement be based on what gender they are)

(also also, Ladybug defeating all of them in a few seconds demonstrates how incompetent they are as a team; defeating Nathalie is not a high bar for efficient villainry)

So, already with that, the episode is bland and doesn’t provide anything interesting; even Felix disguises himself as Adrien perfectly later on, so the model that was edited in any sort of significant way changes back to its oRinGaL fOrM partway through the episode just for the like, two viewers who couldn’t tell that he’s a duplicate of Adrien structurally.

Heck, and even once Felix does disguise himself as Adrien, he’s still making very “Adrien” faces. The camera switching from Adrien to Felix (disguised as Adrien) when the villains show up is a perfect example.

Same face, same pose. It’s like they’re the same person at times (and no, I don’t believe that Felix is that good of an actor when he just got jumped by three teenage girls in outlandish clothing who came out of the phone in his hands).

There’s also the plot with Gabriel and the twin rings. Firstly, the opening is basically the one from “Chat Blanc” with the ring detail added. I remember seeing “Chat Blanc” and then being weirded out when “Felix” hit like, “Wait, is this–?”

Even disregarding that, there’s a certain awkwardness to Gabriel’s behavior. Of course, we all know that Emilie is actually alive and (un)well, so Gabriel being upset with Adrien isn’t entirely wrong (since, to Gabriel, it sounds like his son is supporting him having an affair), but for Gabriel to lash out in an almost childish manner when we’ve seen Gabriel hold Nathalie/Mayura tenderly and we can see that they have something going on, it seems extremely unprompted and just an excuse for Gabriel to not have to tell Adrien that he’s Hawk Moth.

It also brings up the question as to what changed between Gabriel saying that he already wished that he could tell Adrien what he was doing since Adrien would understand, compared to now where Gabriel is completely okay with telling Adrien.

Everything’s too up in the air, too vague, and nothing hits like it should. The episode throws five shots at its viewers at once (”Amelie and Felix,” “The Twin Rings,” “Gabriel Almost Telling Adrien That He’s Hawk Moth,” “Three People Getting Akumatized at Once,” and “Marinette Successfully Sending a Confession to Adrien”) but none of them strike properly. They’re all fighting for screentime to the point where we don’t even see Alya’s more detailed reaction to “Adrien” rejecting Marinette’s confession (she looks slightly more annoyed than everyone else, I guess) when Alya had made such a big deal about Marinette confessing beforehand (I’ll forgive her just this once for flashing her tablet, unprompted, in Marinette’s anxious face since Alya largely does nothing bad outside of that). The episode tries too hard to be big and impactful but misses the mark because none of the things it’s trying to do can play out in a way that makes it feel like they’re important.

Amelie and Felix don’t have original models.

The twin rings haven’t been brought up in any significant way before.

Gabriel and Nathalie talk about Adrien knowing about the Hawk Moth thing once and then presumably give up with no explanation as to why Gabriel isn’t going to try again since Adrien clearly just misunderstood him.

The three people getting akumatized end up turning into forms we’ve seen before, all of which have been in this season, even if it was sparingly.

Marinette’s confession doesn’t even get misinterpreted by Adrien; it’s viewed by Felix and promptly deleted.

Oh yeah, and then there’s THAT scene…

[Consententious]

Alright, so I can’t really talk about this scene without talking about the supposed reason for why this episode exists.

For the 0.01% of people who aren’t aware, Felix is the original Adrien from the Miraculous PV, which is what Miraculous Ladybug used to be before it became the show it is now. Astruc has said, time and time again, that he did not like this character and that was why Adrien had replaced him.

The fandom clung to Felix, however. People were still interested in the “what-ifs” and “what could’ve been”s, especially as situations rose in-show where people felt like Felix would’ve reacted in a way that was different/better than how Adrien would have reacted.

Astruc was the one most known for disliking Felix, but another thing he was known for was lying to people in order to keep future things in the show a secret.

You know that scene in “Kwamibuster,” where Tikki keeps something from Marinette, and when she then tries to explain something else to Marinette, Marinette points out, “You see, the problem now is that I’m always going to wonder if you’re lying or not”?

Yeah, that’s basically the fandom with Astruc. Whether Astruc’s behavior was justified or not, it’s harder to believe what he says when he openly admitted to lying to everyone.

This brings us back to Felix. In terms of what Astruc has told us on him, it’s been inconsistent, to say the least.

He claimed that Adrien was created because Felix wasn’t an interesting character, then said that Felix was interesting even though he wasn’t fit to be a hero despite later claims of Felix being a weak character who was more of an anime cliche, which was then further uprooted by outright stating that Felix was bad/evil.

Essentially, regardless of what has been said about this episode’s existence, this entire episode feels like a response to the side of the fandom that firmly believes that Felix would have been better than Adrien, and that looks bad because such episodes tend to never go over well with the fandom.

- Felix is shown as cold and unfeeling whereas Adrien is understanding if a bit solemn.

- Felix and Adrien are compared directly by both having a dead parent who died recently.

- Felix reacts negatively to Adrien’s behavior whereas Adrien tries to excuse Felix’s actions and be a good person.

- Plagg (who Felix would’ve had in the PV) is given a MUCH bigger input on things than he usually is, even to the point of comparing Felix and Adrien directly. The episode also has Felix ruining a piece of cheese in Plagg’s stash, whereas Plagg is typically not directly affected by the actions of other characters.

- Felix’s actions of rooting through Adrien’s things may or may not be a comparison to Lila (another character that Astruc doesn’t like) from “Oni-chan,” who riffled through Adrien’s things while Adrien was distracted. This is further supported by Plagg calling out both of these to Adrien and Adrien excusing both of them.

- Felix literally disguising himself as Adrien and Marinette not only noticing the facade straight away, but proclaiming angrily that Felix!Adrien is “not Adrien.”

- Felix implied to even be emotionally weaker than Adrien by his face at Chat’s comment about him not having many friends, his face in response to Marinette’s confession, and Adrien asking him to call if he needs support.

And then, we have the big scene where Felix (disguised as Adrien) tries to force a kiss on Ladybug, in which there’s a clear “no means no” message followed by a punch to Felix’s face.

Now… first off, yes, this is obviously yet another jab at the comparison between Felix and Chat. Felix tried to force a kiss on Ladybug whereas Chat has–

…well, he’s never gotten one off, at least, and stops when something happens (either Ladybug gets pulled back into the fight or she stops him with a hand/her words).

This is also shown by how Ladybug states post-punch that “Adrien would never be so pushy,” immediately followed by Chat Noir showing up and insulting Felix.

…Yeah, I’ll tackle the message first.

While this idea of “no means no” is nice and all, it ignores the nuance of what actually means “yes.” The forced kiss still would have been wrong if it’d been towards someone like Juleka, who would’ve locked up at the sight of someone trying to force themself on her, or someone like Rose, who may’ve been completely oblivious as to what the forcer would’ve been doing until it was too late. It might seem like a small thing, but just saying “what part of ‘no’ did you not understand?” leaves the obvious loophole of “WELL, if they DON’T say ‘no’ then that makes it okay.”

As for Chat, well… the setup not only didn’t make sense as a comparison to him, but it doesn’t function as a comparison in the episode itself.

See, the setup is wrong because Felix is not doing this because he’s a creep. He’s not someone who’s crushing on Ladybug and disguised himself as Adrien in hopes that she would favor him and let him kiss her.

In fact, Felix is fully aware that kissing someone without their consent is wrong; the reason he’s doing it is to ruin Adrien’s reputation.

Would Felix actually do that if he were lusting over Ladybug or crushing on a girl legitimately? We don’t know, and that’s exactly why Felix and Chat’s actions are not comparable.

This isn’t a case of, “Character B and C are attracted to Character A. Character C stops when told/prompted to stop whereas Character B continues despite those things.” Chat and Felix have entirely different motives when trying to kiss Ladybug.

Chat leans in for a kiss multiple times and is stopped by either Ladybug or whatever’s happening around them. Even if he stops when told/prompted to, he starts back up, whether it’s later in the episode or in a later episode beyond it.

Felix’s actions are wrong and I will not deny that, nor will I compare him directly to Chat and say that one is worse than the other.

I will just say: Felix is aware that he’s doing something scummy and is doing so to make someone he dislikes look bad. Chat may be aware that he can’t proceed with a kiss if Ladybug denies it or prompts him to back off, but he still tries over and over to flirt and/or lean in for a kiss in hopes that she’ll return it eventually. Whatever form of “no” Ladybug gives him (as it can come in many forms), Chat still believes that trying again later is perfectly fine and that asking is not necessary no matter how many times she’s denied him or rejected his feelings.

As for why the setup doesn’t function, it’s because we, in this episode, do not have a direct comparison between Felix’s advances and Chat’s. Chat isn’t given the screentime to properly flirt with Ladybug or try to make any sort of advance on her, so there’s no “that was Felix, this is Chat,” moment.

Is that because the writers were aware that Chat’s behavior is still not up to speed with how people should act in reality? Maybe, maybe not, but the point is that they didn’t have it.

Now, that said, there indeed was a character in the episode who made it very clear (both through his body language and through his words) that he respected the actions, space, and choices of the one he was in love with.

But, who was that again…?

O O P S

Like, look, I’m not getting into Luka’s role in the episode (though I’ll just say that, while I adore the boy, this wasn’t the episode for him and - had I not needed to go into other subjects - I definitely would be rambling about the disservice both he and Marinette get in general), but I’m just pointing out the very obvious misstep taken. If this episode was a response to the fandom, I guess one could argue that this is knocking any idea of Felix being Marinette’s other love interest instead of Luka, but when people think of “someone trying to kiss Marinette/Ladybug,” Luka is not going to be the first one who comes to mind; that’s gonna be Chat and the writing dropped the ball entirely because it couldn’t pull it off without having to address his behavior or risk sending an, “only no means no,” message.

Oh, and speaking of dropping the ball, even Felix doesn’t get dropped entirely, because the writing didn’t even do Felix dirty CORRECTLY.

[Failing Felix]

Just for a moment, let’s roll (completely roll, this time) with the idea that this entire episode is a response to the side of the fandom who really liked Felix and preferred him over Adrien.

By that logic, the standard thing to do would be to make Felix as evil and possible and make everyone hate him, yes?

However, that “standard thing” is completely missing from this plot.

Felix, by the end of the episode, already has two motives.

The first is stated outright by the end, though could also be inferred early on as well: Felix wanted to get the twin rings back for his mother. In addition, it is not for his own selfish gain, as he isn’t even aware that his mother wanted to get the rings back so she could give them to him.

Felix wanted to get the twin rings back because his mother had told him that they were part of their family, not Gabriel’s, and Felix sought to retrieve them himself.

The second motive is for his actions outside of Gabriel, which is him judging Adrien and trying to ruin Adrien’s reputation.

Even Felix’s bitterness towards Adrien is showcased, though in small doses.

When Adrien apologizes to Felix for not going to his father’s funeral, Felix retorts with,

“You always do everything your father tells you to do?”

Right there is Felix’s problem with Adrien: he views Adrien as a doormat (a common fan complaint anyway tbh). This is not helped when Adrien excuses his father’s actions with a smile (which may come off as insensitive; Adrien, be UPSET by your father, not sheepishly smiling about what he did) by saying that his father is “very protective.”

Felix only initiates his stealing of Adrien’s things after this scene takes place; immediately after this takes place, as a matter of fact.

The other key interaction that takes place is when Felix enters the mansion. He reaches out for a handshake, but Adrien goes in for a hug.

Adrien doesn’t know that a hand reaching out in a handshake gesture isn’t consent.

Already, Adrien has come off as touchy, unable to read Felix’s gestures, and possibly insensitive.

Further on are Felix’s comments on the things he finds in Adrien’s phone:

Adrien’s obvious crush on Ladybug - Felix sees it as idiotic which… yeah, it would look like a childish celebrity crush without context

Nino’s video - 90% sure the reaction there was the “teenage” version of how Gabriel judged Nino in “Bubbler;” pretty standard rich boy judgment

Rose’s video - …I’m sorry, I can’t blame Felix for that one; that was so overly gushy and cheerful that I winced

Max’s video - Felix doesn’t seem like the type to like jokes and he also thinks that whole thing is weird (also not knowing that Markov is “real”); could go either or on how out-of-place his comment was.

Chloe’s video - Felix doesn’t like Chloe and I can’t blame him for that one either.

Marinette’s video - Felix has a different reaction to this one and I imagine he either thinks that Adrien is dating Marinette (and could think it’s pathetic for a variety of reasons from “Adrien is already crushing on Ladybug” or “the doormat boy has a girlfriend”) or thinks that Marinette confessing over video is pathetic

Even when Felix goes against Ladybug and Chat, he’s probably realized at that point that impulsively impersonating Adrien won’t get him anywhere close to sleight-of-handing Gabriel’s ring away. Also, Ladybug punched him (regardless of her reason why) and Chat insulted him despite only knowing things about him from what he heard from someone else.

None of this excuses any of Felix’s actions, but it is a reason that is introduced within the episode where said actions take place.

Unlike, say, Chloe, whose mother was shown off in the season after Chloe herself first appeared, giving us no context, reason, or motive for her behavior outside of “she’s a spoiled brat.”

Felix also did manage to come up with a convincing enough apology to get Gabriel to shake his hand, allowing Felix to safely snatch one of the twin rings away to return to his mother.

I don’t think anyone is complaining about Gabriel getting screwed over after “Chat Blanc,” just saying.

Even athletically, Felix scores a one-handed point in basketball with his back turned to the hoop, and he can go toe-to-toe with three akuma at once.

He even has a hobby in doing magic tricks, said hobby allowing him to steal Gabriel’s twin ring. Characters having hobbies is an important thing for fleshing them out, and Felix weirdly just… has one, and one that benefits him.

So, is Felix’s presence in the show an insult due to having a repeated character model and being used as a forced comparison to Adrien? Yes.

Does that mean he’s not workable in any form and can’t be used for the fandom’s desires?

Not really, no. At least, I certainly don’t think so.

The reality is that Felix was never a warm person, PV or otherwise, and his initial reaction to Adrien (”I don’t like you. You hugged me without my asking you and you let your father walk all over you.”) is honestly something I’d expect of him.

It’s when combined with the already terrible ideas of the episode and the convoluted nature of things that everything (including him) turns into a problem.

#category: salt #category: crtique #episode: Felix #category: long post #word count: over 3000 #other: ask and answer #((I'm with Punch on this one.))#((The episode itself is bad but Felix isn't as bad as he could've been.))

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ordinaryschmuck · 3 years

Text

What I thought about WandaVision

Y'know, it's kind of crazy to think that it's been over a year since we've been given any content involving the Marvel Cinematic Universe. Marvel Studios announced so many great movies, on top of new TV shows that actually impact the story, way back in the summer of 2019. But then 2020 happened. Resulting in everything, and I mean everything, we were promised getting pushed back for another year. So, when it was finally announced that the series WandaVision was, at last, ready to be released, fans were both excited as well as skeptical. Because the first thing that would reintegrate us back into this franchise would be a show about how two Avengers are stuck in a sitcom. It might be new, long-awaited content, but it also doesn't sound all that interesting. Could a story involving two characters who have yet to stand on their own be enough to carry a brand new adventure? Well, for eight whole weeks, fans were given that answer. And personally, I will admit that WandaVision might have been better than anybody could have ever expected...for the most part.

(Final spoiler warning if you haven't seen the show yet)

WHAT I LIKE

It Just Goes: This is easily the best way the series could have started. We are given no context about what is going on. We're just shown that Wanda and Vision are currently stuck in a sitcom, and that's it. By making it a mystery, fans are given this sort of interaction with the series as they find clues and come up with theories about how and why this happened. Sure, some assumptions were more far fetched than others (did people think Mephisto was confirmed just because of one misinterpreted line involving the Devil?), but it still makes the show a ton of fun to watch. Plus, even when we're given answers, it's only tiny pieces of the puzzle. We're always given a chance to figure out the bigger picture, resulting in an image that is, I'll admit, somewhat satisfying to see. Just as long as you ignore the crybabies who get upset that their favorite theories turned out to be wrong.

The Homages are on Point: I also love how straight the cast and crew play with the idea of two superheroes being stuck in a series of sitcoms. Everything they use fits in the era each sitcom takes place in. With things like camerawork, set design, special effects, acting quality, tropes, and even theme songs, everything works as a proper homage than just having two episodes in black and white and the rest in color. Each new sitcom that Wanda and Vision are rebooted in feels so genuine, to the point where they seem like they could be actual shows that could have existed. Seriously, my dad showed me stuff like The Dick Van Dyke Show when I was a kid, so trust me when I say that the very first episode nails the style that it's honoring. Not only is it charming as all forms of hell, but it also works in making these moments when characters break from the spell (get it) all the more jarring and even disturbing at times. Because when you're so keen on watching what seems like a fun and cheesy sitcom, you feel a bit unsettled when a character suddenly acts in a way that's a tad foreboding. Still, it's fun to watch and is easily the central hook for what makes this show work.

The Comedy: The homages also nail the comedy that came from each type of sitcom. The jokes fit with each period, from the cheesy and charming 50s to the cynical and dry 90s and early 2000s. It's another thing the writers play straight with, and I think it works. The only jokes made by most stories like this are just pointing out that these serious characters are stuck in a silly sitcom. Instead, the writers tell jokes that work for the period it's in, and it is all genuinely funny if you're used to those types of goofs and gags. If you didn't laugh, that's because the comedy isn't trying to reach out to you. It's reaching out to the people who actually watched these types of sitcoms. Or, in my case, the type of people who had their parents show them these types of sitcoms. And even then, I still think there are these lines and deliveries that are still funny even if you don't get the joke. For example, there's this brief moment with Vision and a toy baby that got a genuine chuckle out of me for how absurd it was. I wasn't expecting to laugh that much, but on top of the many surprises this show gave, being funny was definitely one of them.

“My husband, and his indestructible forehead”: He...hehe...hehehehahahaHAHAHAHA! AH! HA! HA! HA!

*Slowly starts sobbing*

>Squeaks<

I see what you did there.

Paul Bettany as “Vision,” “Vision,” and Vision: Can we give Paul Bettany a round of applause for basically playing three different characters, each with their own varying levels of emotions and purposes? Because goodness gracious, this man is a champion! I've seen tons of people praise Elizabeth Olson for her performance as Wanda, and to be fair, she does do a fantastic job...aside from one blatant issue (which I'll get into later). But as great as Olson is, Bettany still deserves some credit. Throughout most of the series, he has this level of comedic-timing that I didn't even know he was capable of, by going ham or just having a dry wit. Seriously, was someone going to tell me that Paul Bettany can be funny, or was I supposed to find that out for myself? On top of being hilarious, Bettany delivers such raw emotion that none of us would have ever expected from this character. That screaming match “Vision” has with Wanda shows the very first time that any version of him has ever been angry, and Bettany does a great job at making that moment as jarring as it needed to be. And that's just from playing one version of the character! I didn't even talk about how he nails the naive yet still wise Vision from the flashback in "Previously On" or the cold and robotic "Vision" from "The Series Finale." Bettany has range, and WandaVision is a great show that proves how. One just needs to have the right amount of vision to see it (HhhhhhhhhhhHA!)

Developing Wanda: But as great as Paul Bettany, and to a lesser extent, Vision, is, Wanda Maximoff is clearly the star of the show here (And yes, I know that it's Wanda who's the character and Elizabeth Olson is the actor, but...I'll get into it!). If WandaVision has taught me anything about these Disney+ shows, it's that we are finally going to get some long-awaited development to characters that are starved from it. And Wanda definitely needed it. Don't get me wrong, Wanda was great in past movies but wasn't that compelling of a character. Here, trust me when I say that the opposite is true.

We are given a deep dive into not only Wanda's morality but also her psyche. The writers really play around with how scary Wanda can be. As well as questioning if Wanda has the capability of being evil. Because, yeah, what she did was not right. True, our "heroine" was going through some rough s**t, but that doesn't excuse the amount of torture Wanda put the people of Westview through, no matter how unwittingly. Just look at that scene where everyone grills Wanda about what she's doing to them, not only pleading for whatever compromise they can get and even begging for her to kill them instead. That is dark! That is the darkest concept the MCU has ever offered, and the ending of Avengers: Infinity War exists!

But, while it doesn't entirely excuse everything, there is a reason why Wanda did all of this. You see, throughout WandaVision, Wanda goes through the five stages of grief. It all starts with denial as she pretends to live in a sitcom that she created where Vision is alive, and they get to even have kids together. Soon comes anger when she destroys anything and physically harms anyone that tries to bring her back to reality. Next, there's bargaining as Wanda strengthens her hex and expands it to keep outsiders out and keep Vision in. This leads to depression as the weight of all of Wanda's actions finally sinks in, and she's forced to realize the damage she's causing. Until all of it ends with acceptance, as Wanda finally, finally, gets to say goodbye to Vision. Something she never really got when Thanos ripped the mind stone out of Vision's forehead. It's both incredible to watch as it is fascinating. Wanda, through the course of her own little spin-off series, just went from a decent character to one of the most intriguing to dissect in the MCU. And we have this show to thank for it.

The Commercials: These commercials offer three things.

They're more homages to classic television, each product and filming for each one honoring how commercials looked in each era.

They offer more of an insight into Wanda's psyche as we see how each commercial shows bits of her history, regrets, and deepest desires. You see all of the above in the Lagos' paper towel commercial.

There are neat bits of foreshadowing of what's to come, like how Hydra Soak ends by saying it's for "your inner goddess" or how the 90s commercial ends by saying Magic isn't meant for the weak.

With all of that, these commercials are as fun to analyze as they are disturbing as hell.

The Dinner Scene: This was the moment it was clear that WandaVision wasn’t going to just be fun and games. The second that "Mr. Heart" starts screaming at Wanda about why she and Vision came, it becomes clear that the whole wacky scenario our heroes are in isn't as harmless as we all thought. And when "Mrs. Heart" playfully tells her husband to stop it when “Mr. Heart” starts choking, only to desperately scream at Wanda to stop it, audiences begin to piece together that the people of Westview are prisoners--no--victims. As for Wanda? She's the unknowing dictator forcing them to do what she says. And it was this scene that I knew I was going to really enjoy this show.

The Blip Scene: And it was this scene that made WandaVision skyrocket into top-tier MCU territory! As much as I love Spider-Man: Far From Home, I will admit that making a joke with the concept of something like the blip might not have been the best move. But showing the chaos of everyone coming back all at once? On top of showing the confusion that a person would have from being told that a five-second nap was five years? Yeah, that's more in line with what we want.

Returning Characters: Not only was I surprised by the fact that these pretty minor characters in the MCU made a return at all, but I was also shocked to find out they work better in this series than they did in their respective movies. First, there's Monica. Not only is she reintroduced as a brand new hero (with, admittingly, confusing superpowers), but she also works as the anti-Wanda. Both characters had someone they care about dearly die without getting a chance to say goodbye. The difference is that Monica doesn't have the abilities Wanda does and is instead forced to quickly accept that her mom is dead and won't come back. She even admits that she would bring her mom back if she could. But that just makes Monica the perfect person that Wanda needs. A person that understands where she's coming from and tries to convince Wanda to do the right thing, no matter how hard it is. Monica's methods may have been a tad bit sloppy, but she is still ten times more intriguing than that little girl who screwed around with the color scheme on Captain Marvel’s suit.

Then there's Jimmy Woo, who is both funnier here than in Ant-Man and the Wasp, and actually shows signs of being a competent FBI agent. A step up, I might add, from the hilariously incompetent character we saw in his previous appearance.

And also, Darcie is here...and still slightly annoying...but at least she still has a couple funny lines here and there! Which is more than I can say with Thor and Thor: The Dark World.

In my opinion, it's a good move having these characters with pretty small roles in vastly different stories make a return. It shows that they are not limited to their one little corner of the MCU. And that they can branch off into taller tales that suit them perfectly. It's pretty cool, and it makes me wonder what other small characters could make a triumphant return.

Billy and Tommy: These two are...fine. Billy and Tommy give me Zach and Cody vibes sometimes, the kids playing them do a decent job, and they both offer some great emotional moments. The problem is that out of the list of characters that WandaVision introduces and reintroduces, there's not much to talk about with Billy and Tommy. Honestly, the only reason why I briefly mentioned that I like them is that I don't want dozens of people crucifying me for not saying anything about them. I don't hate them, but I don't much care for them either.

Evan Peters as Quicksilver: Although I would have loved it if it was Aaron Taylor-Johnson who made a return, seeing Evan Peters in a good Marvel movie again is more than worth it. He plays a much more fun version of Quicksilver while still nailing the sibling relationship the character has with Wanda. In a way, it's a lot like how Marvel cast J.K. Simmons as J Jonah Jameson at the end of Spider-Man: Far From Home. It's admitting that no one could have played the character better than this one actor and briefly making fans happy in the process. While also not doing something crazy like having it be the exact same Quicksilver from the X-Men movies. Only f**king idiots would believe something like that...

...

...But hypothetically speaking, let's say some people were stupid to believe that. While making an outrageous claim that the writers "lead them on to doing so." In which case, I will say the same thing that one would say when friend-zoning someone: "Nobody led you on to s**t. You were just too busy focusing on what you wanted to see instead of what you needed to see."

Because there was no evidence that it was the same Quicksilver other than the fact that it was the same actor. And, hypothetically speaking, if there were dozens of crybabies who were upset about it not being the same Quicksilver, then I have so much more respect for this character being nothing more than a boner joke. Because you did this to yourselves...hypothetically speaking.

Retconning Wanda’s Powers: ...I'm ok with this. Retcons happen all the time in the comics, as well as in movies and television. It's just a matter of making the retcon believable enough where there are few holes in what you're telling people. As for Wanda apparently having magic this entire time, but the mind stone amplified her powers? I can buy that. Besides, it's an acceptable excuse to make Wanda as powerful as she is in the comics (from what I've been told), so like I said, I'm ok with this.

“I can’t feel you…”: ...That's fine. I didn't need my heart anyway.

“Vision’s” Talk with “Vision”: Forget the horrible CGIed battles. I want more of this!

Now, I put both Visions in quotation marks because while they're both the same character, they're also...not the same. Which is, funnily enough, what this scene is: A philosophical discussion between two versions of the same android about what makes them both/neither the definitive version. One may look the same, and the other may be the same body, but neither "Vision" really is the true Vision. However, the fact that these two stop their fighting so they can have this discussion in the first place helps secure that while different, they are still the same. It's a thought-provoking discussion, and it is ten times more interesting to watch than Wanda and Agatha's CGI fight in the sky. Although it is kind of odd that White-Vision just peaces out the second Hex-Vision gives him a reboot. But hey, that's for the future movies to deal with.

“Thank you for choosing me to be your mom.”: >Deep inhale<...Girl.

Wanda Saying Goodbye to Vision: >DEEPER INHALE< HOOOOOOOOOOO BOY! I did not expect this much emotional turmoil from f**king WANDAVISION!

Joking aside, this is a well-handled scene. It's incredibly emotional to see these two characters say goodbye to each other as their arcs come to a close. "Vision" peacefully leaves knowing who he is in the world, and Wanda can finally start moving on as she gets to say goodbye to her one true love. It's as bittersweet as it is beautiful.

WHAT I DISLIKE

MCU logos flashing in every episode: You know how CinemaSins has this bulls**t excuse about how the MCU opening logo wastes time to get to the good stuff? This is the only instance where that's applicable. Because the opening logo was cool to see again for the first episode, but having it play in every single one after breaks the immersion when trying to binge the series. It's for a couple of seconds, sure, but after a while, it does get pretty annoying.

Elizabeth Olson as Scarlet Witch: Now, to be clear, I have no problems with Elizabeth Olson's acting ability in this series. She juggles being funny, heartbreaking, and threatening so well that I am likely to laugh and cry with her as I am to s**t my pants while in her presence. Elizabeth Olson does a great job with this character. The problem? Well, in the comics, Wanda Maximoff is Roma, and Elizabeth Olson...isn't. This means that WandaVision, and the MCU as a whole, has a bad case of white-washing.

I could go on about the issues this brings, but I am not as educated about this subject, and all I know is just stuff that seems like common sense. For instance, I believe it is more than reasonable to hire an actor of a specific race or ethnicity for a character who is of a that same race or ethnicity. But that is as far as my knowledge and personal stance goes, and to expand on it would be too much of a risk because I have no right to criticize the representation of something I am not a part of. So instead, I'm going to point you to @earnestdesire‘s blog and Jessica Reidy’s article on the subject. They do a great job at discussing the issues with Olson’s Wanda and pointing to the issues the MCU has in representing Wanda and Pietro's representation in the comics. And they do it in a far better way than I ever could have. So check them out to truly see why, despite doing a great job, Elizabeth Olson should not be the person donning the suit.

It Was Agatha All Along: AND I STILL F**KING HATE THAT!

I know, I know, I am in the minority on this one. And I still don't understand why! To me, Agatha has all of the problems that Hans has in Frozen. Sure, there are hints if you pay more attention during a few select scenes that are slightly questionable. Like how she refers to Wanda as "the star of the show" or coincidentally shows up with a dog house for Sparky. However, much like how Frozen didn't need a villain like Hans, WandaVision didn't need a comic book villain like Agatha. The story was perfectly passable as a personal conflict involving Wanda's grief where the only obstacle was the director of S.W.O.R.D. and his agents. There is nothing Agatha adds to that.

"But she helps Wanda find out what happens!" Yeah, but Monica could have done the same thing by actually breaking through to Wanda and calmly asking what happened. From then on, they could have worked things out together by having Wanda retrace events that transpired through the information that Monica knows as well.

"But Agatha helps Wanda realize what she's doing is wrong!" So could Vision! He could have shown up, did that mind-meld thing to the townspeople, and Wanda would finally learn what she was doing was wrong through the person she trusts the most.

"But Agatha helps Wanda learn that she's the Scarlet Witch!" Ok...but did that need to happen in this series? Because when you think about it, when the central conflict is all about exploring Wanda's grief, throwing in this narrative about becoming the Scarlet Witch has little to do with anything. Meaning that if you cut it from the story, little would change other than cutting a CGI battle that everyone agrees is the worst part of the series.

The most Agatha adds to the story is a secondary conflict that could easily be cut, and the overall quality would stay the same, if not better. And that is a problem. Agatha needs to add to the central conflict in a way that no other character could have. Like, give her a reason to be involved in Wanda’s life that goes beyond feeding off her magic and leading Wanda to her destiny. Because as is, even if you argue that Agatha is a good twist villain, she's a villain that really didn't need to be here.

Director Haywood: But as much as I don't like Agatha, I think we can all agree that Director Haywood is the worst villain in the MCU. Because one issue that Haywood has is a lack of motivation. For instance, why does he try so hard to write off Wanda as this supervillain? It was never explained, and for something so bizarre and crucial to his character, I feel like it needed to be. It would be passable if he was motivated out of fear and ignorance, but Haywood goes so far as to misedit security footage to prove his point. And I don't get why.

Is he sexist?

Did Wanda not show up at his kid's birthday party?

Did he secretly want to use Vision as a sexbot and didn't want Wanda to get between them?

I don't know, and I'll never know.

Plus, on top of having no motivation, Haywood is just forgettable. Agatha may piss me off to no end, but at least I'll remember her. I honestly forgot Haywood's name half the time, and I'm willing to bet that you did too. Case in point, his name isn't even Haywood. It's Hayward. And in the off chance that you didn't even know about that misspelling just proves my point about how forgettable Hayward is. While it's one thing to be hated, it's another to be forgotten. Because that just means that you left so little impact that you aren't even worth getting upset about.

------

And that is what I thought about WandaVision. If I had to base this off my usual score, I'd have to give the show the same 7/10 that everyone else gave it. Because there's a lot that I love, but the stuff that I hate is so problematic that it takes the WandaVision down on a couple of notches. It's still a fantastic series with a solid story, a great message, incredible acting, and phenomenal character development. It's just that not everyone is going to be willing to tune in as much as you might think.

#marvel cinematic universe #wandavision #mcu reviews #wanda maximoff #vision #agatha harkness #what i thought about

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the-trashy-phoenix · 3 years

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Supernatural season 8 review (part 2)

Link to part 1:

Season 8 is far way better than season 7, and overall one of the best seasons of Supernatural, because in my opinion it brings a lot of new and positive elements to the show, even if it has some flaws (like episode 08x04, I'm sorry but what was that?).

We left Dean and Castiel in purgatory, which from, one year after they got in, Dean escapes with a vampire called Benny (08x01), and reunites with Sam who has retired from hunting and started living a life with a woman, Amelia, who he has already broken up with. The relationship between the brothers is already strained because of Sam (who didn't look for him or for Kevin, who was captured by Crowley), and will eventually have its ups and downs throughout the season. Although I would understand why Sam wanted to live a normal life at this point (especially since everyone he knew died or disappeared), I don't think he should have left Dean in purgatory without looking for him (or for Kevin). They eventually find him and discover that there's also a demon's tablet that could send the demons to hell and close its gates forever, so that becomes their primary mission in season 8. Kevin then has to hide throughout the season to translate the tablet and to avoid being caught again by Crowley, the main enemy of the season. We discover many new aspects of his personality and life (such as his relationship with his mom, who appears in episode 08x02 and is a total badass), but also an evolution, from the terrified student to a prophet who no longer fears even Crowley. The first time I watched Supernatural Kevin was one of my favorite characters, perhaps also due to the fact that he was younger than everyone else and that he was vaguely almost my age, and even today I am fond of him, mainly because I love his character and because I am sorry that he had to live this life against his will.

The first episodes of the season contain a series of flashbacks showing the time the brothers were separated, Sam living a new life with Amelia and Dean in purgatory with Benny and Castiel. While I loved Dean's flashbacks, I admit that those who showed Sam's life with Amelia didn't excite me that much. I never really liked the relationship between the two, perhaps because I never liked Amelia as a character herself (she didn't pass on much to me), plus it allowed Sam to ignore all the problems that I think he should have dealt with in this case. The only thing I liked was being able to see Sam living a normal life, without the need to worry about saving more lives. I also think Sam's behavior throughout his time with Amelia was correct, especially when his husband came back, while I think Amelia should have been more determined and not have left Sam without knowing precisely what she wanted.

The period in purgatory, on the other hand, fascinates me particularly: the fact that it's focused on Dean, my favorite character, or that the dynamics between Dean, Benny and Castiel were much more intriguing made me probably wish there were more flashbacks like that. I forgot how much I appreciated Benny's character: it initially seems that he doesn't care about Dean and that he just wants it to get back to earth, but in latest episodes, especially in the period on earth, we notice how much he cares about him, so that he sacrifices himself to save Sam. We also learn more about him and how, even though he's a vampire, he doesn't want to hurt any human (and the thing I appreciated the most is the fact that he didn't let himself be corrupted by returning to life on earth, proving to be really good). Especially because of Sam and Dean's conflicts over having a vampire as a friend (which actually goes against Dean's usual ideals) Benny and Dean have no way of seeing each other that much on earth and Benny realizes that there's nothing left to stick him to that place (and that's why he decides to stay in purgatory once he saves Sam). Although I don't consider their relationship as strictly romantic as many do (though the basics were there), I've always enjoyed Benny’s relationship with Dean and I was sorry not to see it grow and develop (maybe even in something more, also because the parallels with the relationship between Sam and Amelia are quite present and the breaking up phase was very evident even for Dean, besides Sam, as Charlie makes us notice in episode 08x11, one of the two episodes in which she appears, along with the episode 08x20, and in which the relationship with the brothers, and especially with Dean, progresses to such an extent that she becomes a sister to both of them).

Another evolution of relationships is found between Dean and Castiel. The two end up in purgatory together, but Castiel escapes Dean immediately and he spends a lot of time that year (also with Benny) looking for the angel. Once found, we discover that he had avoided Dean to keep him away from the Leviathans and that Dean had prayed to Castiel every night to try to find him. There are several elements that make the dynamics between the two even more special: the fact that Dean desperately looked for him because he didn't want to leave without him, the joy of finding him again, the terror of finding out that Castiel had avoided and ignored him, and the relief of understanding that he had done so only to protect him add layers of depth to the relationship. When Dean can't save Cas, the guilt haunts him until Castiel shows up in front of him. We find out that Castiel wanted to stay in purgatory as punishment for doing all that damage in the past and that Dean thought he hadn't done enough to help him get out. At this point in the series I think there are at least some scenes that involve a possible outlet in a relationship that goes beyond just friendship. The most obvious moment is certainly in episode 08x17, a scene at the height of a series of events that strictly concern Castiel and his relationship with heaven. He returns from purgatory thanks to the angel Naomi, who puts him under her control, without him knowing it, to spy on the Winchesters especially to find the angel tablet, who could send the angels to heaven forever. Dean, suspicious from the first moment Castiel returns without knowing how, realizes that the angel is not okay and when the two find the tablet he tries in every way to prevent Castiel from taking it. The most shocking element is the fact that Naomi trained him in heaven to kill copies of Dean in such a way that, if necessary, he would also do so in reality. In fact, it looks like Castiel, who is totally controlled by Naomi, has no mercy on Dean and is willing to kill him, but, after an open-hearted speech and the famous "I need you" Dean utters, Castiel frees himself from Naomi's control, spares Dean and cures him. Now, it's indisputable that at "What broke the connection?" we would all answer "Castiel's love for you, Dean", but probably the most appropriate question would be "What kind of love?". From the point of view of a person who loves Destiel, I think Castiel still doesn't really realize the emotions he feels, but that certainly the form of love he feels for Dean comes close to being romantic, more than anyone else. The most obvious thing that makes me notice it is the fact that Naomi chose Dean for Castiel's training, and I think she did because if Castiel was able to kill Dean he would easily kill anyone else. I remember when I was fifteen years old, watching this scene for the first time and not shipping Destiel that much, this moment got me thinking. Castiel, however, once back in himself still takes the tablet and hides it from Dean, not trusting what he could do. Dean, when the two meet again, shows all his disappointment at knowing that Cas doesn't trust him, once again showing how much he cares about the angel. Luckily, the two manage to make peace and collaborate until the last episode, 08x23.

Also in episode 08x17 we meet Meg and, thanks to a conversation with Sam, in which he talks about the love he feels for Amelia, we understand that she feels something for Castiel. Probably if Destiel didn't exist I wouldn't mind seeing more of their relationship, but unfortunately Meg is killed a few minutes after that confession.

Castiel's main purpose during the course of season 8 is to redeem himself from the damage caused previously, and especially to help heaven return as it once was. That's why he lets himself be controlled by Naomi more easily and tricked by Metatron, who appears towards the end of the season and plans to bring all the angels out of heaven, making Castiel believe that they are closing the gates of heaven once and for all. Metatron makes him complete three trials, the last of which is to become a man. Castiel then, at the end of the last episode, finds himself both human and aware that he has caused all angels to fall from heaven, shown as a meteor shower in one of Supernatural's most magical scenes.

In the same episode Dean and especially Sam are busy closing the gates of hell forever. With Kevin's help, they discover that to do so they have to complete three tests, tests that also put a strain on their already rather complicated relationship. Given the danger and possible effects of the trials, Dean is the one who wants to deal with them without further discussion, trying to protect Sam at all costs, but his brother disagrees. And right now we see how Dean is now lacking that hope of lifting up and being happy that he once had. He is convinced that for him there is nothing but hunting for evil and knows that one day he will die doing just that. Hearing these words, especially after seeing the last episode of season 15, completely broke my heart. Because here it is understood that Dean, at least, does not think he is valuable enough to live a happy life outside of hunting, unlike Sam. Several times over the seasons Dean proves to be always the most pessimistic, who doesn't believe that he can win and above all that he is able to move on, and this side of it gets worse and worse, to the point of suicidal thoughts. For a character like Dean, who should have grown and realized that he was valuable enough to be happy, dying without a hint of struggle and survival instinct just when he could have been happy is really a terrible end (but I would say I can vent better about it in last season's review). As much as Dean wanted to be the one who would complete the trials, Sam accidentally passes the first one: to kill a hellhound and bathe in its blood (08x14). Sam, unlike Dean, wants to pass the tests because he wants to live on, optimistic, and so he will try to do it in every way. Dean isn't convinced Sam is the one who has to pass the trials and Sam thinks Dean wants to be the only one doing it because he doesn't trust anyone else, not even his brother. I think the problem isn't that Dean doesn't trust anyone else, but rather that Dean is only willing to hurt (and possibly kill) himself to close the gates of hell, and definitely not the person he cares about the most.

Unlike the first test, I was not completely satisfied with how the second was dealt with (08x19), freeing an innocent soul from hell (who turns out to be Bobby), because I think it was too easy to go to hell and above all find Bobby.

The last trial, on the other hand, is the most complex, the one that has been dealt with in the most interesting way and overall the best one: curing a demon and turning them into a human (08x23). The two brothers document themselves and spend quite some time searching for the magic formula (which is meant to be human blood), but the best thing is the demon on which they test this formula, Crowley, who is the enemy of the season and who proves to be Supernatural's best villain, both for his personality, for his own evolution and especially for his relationship with the Winchesters. A decisive aspect of this evolution is in fact precisely this transformation thanks to Sam's blood, which makes him incredibly more sensitive and empathetic (and in fact, although Sam does not complete the third trial and completely transform it, in the following season Crowley shows aspects of himself never seen before). In fact, Dean, once he learns that Sam, completing the trial, would die, convinces Sam to stop the trials and let go of the plan to close the gates of hell. This scene from the last episode is one of my Supernatural favorites, because it shows how much the two brothers care about each other, although they both made many mistakes, and how hurt Sam is that Dean does not trust him enough and prefers to collaborate with Benny or Castiel. Dean assures him that he is the person he would put in front of everyone else and helps him stop the pain he feels for trying to pass the third trial. While I love Castiel's relationship with Dean, I'm convinced Dean’s priorities are focused on Sam, because Dean not only played the role of older brother, but also father and mother, having been the only one to raise Sam, and the idea of seeing Sam die would completely destroy him (as we have already seen in the second season).

The two brothers, who have always lived alone in motels and cars, for the first time since the beginning of Supernatural find a "home". In episode 08x12, they meet their grandfather Henry, John's father, who has gone into the future to escape a Knight of Hell, Abaddon (who joins him and stays there), and they find out that he's part of an association called Men of Letters, the collectors of information on the supernatural who collaborate with a few hunters to handle the monsters, located in a bunker in Kansas. They then discover that they are also their legacy and decide to use that bunker, full of information that they were not aware of, as a base and home for research against the monsters they have to hunt.

The fact that the Winchesters finally have a place to live and create memories, the focus on the trials and the relationship between the two brothers, purgatory, Dean's relationship with Benny and Castiel and the fall of the angels are some of the elements that make season eight one of my favorites.

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eliotquillon · 4 years

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the h.i.v.e timeline

(this is going to end up massive, so sorry in advance to all my none h.i.v.e followers).

obligatory disclaimer that while i’m trying to follow canon fairly closely here, i know i might have missed some details; this is a writeup of a google doc i made immediately after my feb reread and while i have reread books 1 and 2 since then, i haven’t had the time to double check anything from dreadnought onwards. there are also canon elements that i am deliberately ignoring/reordering, and i will make it clear that i am doing so when those details come up.

part one: student ages

currently, we only have two canon ages: raven, who is thirty-one in deadlock (or thereabouts; i’m basing this off her being 16 when she tries to kill nero and that being in the 15 years ago flashback), and otto, who we know turns thirteen just before he is sent to h.i.v.e (the specific age comes from the blurb of book one). we also know that nero taught diabolus and duncan cavendish as students, and that h.i.v.e was founded in the 1960s, which seems vague but actually gives us a lot to work with; cavendish’s records being faked implies that h.i.v.e does provide public examination results for its students, and that h.i.v.e’s entry year was deliberately chosen to parallel the english private school system (which, unlike the state system, is split into pre-prep, prep, and senior), where entry to senior school coincidentally takes place at the same age of entry to h.i.v.e

when it comes to making age estimations for students during the various points of the series, i’m making three assumptions:

1. all students in otto’s year are thirteen when they start h.i.v.e, just like otto.

2. otto turns thirteen in august 2006, making him one of the youngest students in his year, assuming the h.i.v.e school year starts in early september like most british schools. most of the ‘age’ section of this hinges off otto, because he’s the only student who is given an age and is seen celebrating a birthday.

3. the six years spent at h.i.v.e span what would be year 9-13 + the first year of university in the british system. in the american system this is grades 8-12 + the first year of university. therefore, students graduate at the age of nineteen.

h.i.v.e:

every first year alpha is thirteen.

the overlord protocol:

this is still set in first year, but is months after the events of book one. otto is still thirteen, but we can assume that, at this point, some people have turned fourteen. my money would be on wing, shelby, and possibly franz as being the older kids in their year (and therefore fourteen), but the semantics don’t really matter.

escape velocity:

this is the first book with a sizeable time skip - we see otto trying to steal the end-of-year exam for second years. this means everyone is now at least fourteen, and because (in my personal experience) late july/august birthdays aren’t very common, i’d wager that shelby, wing, laura, and franz are all fifteen; i’m excluding nigel here because i think, based off his physical description, he’s probably one of the younger kids in his year, and otto is obviously still fourteen, nearly fifteen. this is supported by raven telling otto that she was almost exactly the same age as the core four when she went on her first mission; we know from deadlock that she was sixteen, which would only be a year (max) older than the alphas at this point in time.

dreadnought:

dreadnought is set at the start of third year; we know this because the 93-percenter is specifically a third year field trip. this means that everyone, including lucy, is fifteen.

rogue:

rogue is where our perfectly constructed timeline slips, because it seemingly ages otto backwards - it is set thirteen years after we see otto being cloned in the tank, which would make otto thirteen even though he ends dreadnought at fifteen. there are multiple potential explanations for this - i favour the idea that otto is registered as older than he is biologically because he’s a clone/genius and was left at the orphanage with no birth certificate - but either way, i’m still going to say that otto is fifteen and that everyone else is a third year and either fifteen or sixteen. side note: otto’s benjamin button trick here is one of my least favourite ‘slips’ of the series and ruins what is otherwise one of my favourite entries.

zero hour:

there is a year between rogue and zero hour, meaning zero hour is set in fourth year and that otto is sixteen (and again, everyone else is either sixteen or seventeen). in my original doc, i made a note saying that apparently everyone is still in third year, but based off a quick search for ‘three’ and ‘third’ in the ebook, there’s no proof for that. lucy dies when she’s sixteen/seventeen.

aftershock:

there’s another short timeskip here, and based off the fact that this is when penny and tom join and that it’s the introduction of new security chief dekker, we can guess that this is the beginning of fifth year (incidentally, the fact that nero and raven are available at the beginning of the book to go meet joseph wright in london does appear to suggest that nero wasn’t needed to teach that day, meaning that there is some form of summer holiday at h.i.v.e). i also think it’s likely that this is fifth year because penny and tom a) had time to gain relative notoriety for their thefts and b) would’ve needed to be at least sixteen to leave school and local authority care (although tom is apparently a year or two older than otto and penny according to book one) and it being fifth year sets everyone at seventeen. seventeen is actually pretty old for the alphas to be taken to the glasshouse (raven went at age eleven), but i think it does make sense that the hunt was targeted, and not the third years on the 93 percenter; tom and penny actually had time to go to lessons pre field trip, and lucy didn’t, meaning that the 93 percenter mostly likely happens in the first few days of the school year and was organised before dekker became a member of staff, which wouldn’t have given the disciples the necessary time to plan and execute a retrieval. also, laura was obviously in fifth year and not third, making the hunt a far more attractive choice for anastasia to target.

deadlock:

deadlock is similar to rogue in that it fluffs an important timeline detail, but it’s not relevant to ages here, so i’ll revisit it later. it’s set several months after aftershock, but seeing as no other students are recruited to pad out the three left in the alpha stream and that aftershock was only set in the first month or so of the school year, i think it’s safe to assume that everyone is still in fifth year at this point, so either seventeen or eighteen. my gut feeling is that shelby, franz, and wing are all eighteen, and that’s because they’re allowed on the mission to break into the glasshouse; obviously we see them get into danger/be involved in plans before this point, but this is the first time we see nero actively sign off on them being allowed into a tactical situation with a known risk to life (and i’ve made a shitpost on this, but raven does say that nero would “have her shot” if she brought thirteen year old otto into a tactical situation back in the overlord protocol, so i think the only way nero would’ve allowed this to happen was if the remaining alpha students were all legal adults). the exception to this is otto, who would still be seventeen, but seeing as he isn’t an enrolled h.i.v.e student at the time of the mission, i don’t think nero’s no-student policy applies to him.

book nine:

obviously none of us know what’s going to happen, but i think it’s safe to say book nine will probably be set in otto’s final year, when he’s eighteen.

part two: adult ages

really, i should just be transparent and call this what it is, which is just blatant nero age speculation. while it’s implied that nero is immortal in book one, this is also literally never mentioned again, and the only physical indicator we know is that he has a streak of grey in his hair. however, i do have a bunch of info that can give some clues at how old nero really is.

1. nero taught diabolus, and is implied to have been headmaster of h.i.v.e at this time. we’re not really sure how old diabolus is, either, but seeing as he has a teenaged son and was old enough to have had a considerable career and be made head of g.l.o.v.e, he can’t be any younger than his late thirties by the time he pops up in escape velocity, and i’m guessing he’s inching towards fifty purely because he isn’t described as being particularly young when we see him in hong kong with nero 15 years before the events of deadlock. (i am, however, aware that this means nothing, because walden sucks at describing people). that means nero’s been teaching some forty years, which lines up with him co-founding h.i.v.e with his father in the 60s, and seeing as h.i.v.e is nero’s great passion project, i don’t think he could’ve been any younger than 25 when h.i.v.e opened in the original icelandic facility. basically, this tells us what we already know: nero is old as shit, and doesn’t look it.

2. the duncan cavendish thing interests me a lot more, because we see that nero actively switched cavendish from polfi to alpha. again, it was already implied that nero was headmaster from the beginning, but this shows that nero was always running the show and wasn’t just initially his father’s apprentice as deadlock almost seems to hint at.

3. nero has a doctorate. “well duh”. but again, if nero had that doctorate when he founded h.i.v.e, he has to be nearing seventy. he could’ve gotten it earlier, sure, because nero is a very intelligent man, but he’s not otto-levels of academic genius. i don’t think he could’ve been any younger than 15/16 when he got his phd.

i did say that this would be an ‘adult ages’ section, so i’ll do a bit of background on raven, the only adult with timestamps. her being thirty one in deadlock makes her twenty seven in book one (if we follow the logic of otto being seventeen in deadlock), and because i personally believe the h.i.v.e timeline starts with book 1’s publication in 2006, this means raven was born around 1979 (which, if you subscribe to the theory that raven is elena and nero’s kid, makes her born after h.i.v.e was founded, which has some interesting implications about the origins of the glasshouse).

i know we’re all in mutual agreement about the soviet training being a bullshit throwaway line that walden wrote in before deciding to make raven a major player, but i’ll do the work of disproving it anyway: if raven was born in ‘79 and she came to the glasshouse at 11, that means she started her training in 1990. the soviet union officially fell in 1991, but the berlin wall fell in 1989, and the cold war was pretty much over by the time raven came to the glasshouse thanks to gorbachev’s new policies and military cuts. there is absolutely no way that the furans were soviet-funded, or that raven was trained by the soviet government. in fact, the only feasible way raven could’ve been trained by the soviet union in, quote from book 1 here, “their cold war prime”, would be for her to have been born almost a full 20 years earlier in the early 1960s, which would’ve made her middle aged in book 1. but, like, you tried walden.

part three: overlord

the overlord incident - the one that led to the destruction of the chinese facility and inadvertantly led to wing’s birth thanks to wu zhang and xiu mei shacking up together - is probably the most crucial part of the h.i.v.e timeline. without it, number one never would’ve been corrupted, otto wouldn’t have been born/manufactured, the seed code for h.i.v.emind wouldn’t have existed, cypher never would’ve launched his assault on h.i.v.e and nero (or felt the need to come into existence at all), and, of course, overlord himself wouldn’t have been the world’s most annoying LED lightshow for five books (because book one hardly counts). but even though raven had nothing to do with the original overlord incident, she’s still strongly linked to it. i’ll explain.

the overlord incident had to have happened before raven met nero. i can’t stress that enough, and this is the conflicting detail that i mentioned in deadlock. the nero’s internal monologue in the fifteen years before flashback appears to indicate that the overlord incident hasn’t happened yet - but that can’t be true, otherwise wing wouldn’t exist.

like i’ve laid out, wing is thirteen in late august 2006, and most likely eighteen (but at least seventeen) in 2010/11, aka deadlock. this gives him an approximate birth year of 1992/3, and all roads lead back to raven, who would’ve been fourteen when wing was born. already, that makes her too young to have met nero pre-overlord incident. but even more importantly, wu zhang and xiu mei only ended up together because of the overlord incident. like i said, if it weren’t for overlord, wing would not exist. we don’t know when wu zhang and xiu mei‘s friendship turned to romance, but if xiu mei got pregnant in 1992 (which fits with either of wing’s birth years - either he’s late ‘92 or early ‘93), i’d wager they got together in 1991 at the latest. raven would’ve been twelve.

i’m putting the overlord incident at a tentative year 1990, which would’ve allowed plenty of time for xiu mei and wu zhang to escape china together and fall in love before wing’s birth, and also gives overlord a handful of years to start corrupting number one to convince him into cloning himself to make otto (who was dropped off at the orphange in august ‘93). raven came to the glasshouse in 1990. there is absolutely no way she could’ve met nero while he was still making arrangements for overlord, unless wing was born after 1995 when raven tried to kill nero, in which case wing wouldn’t have been at h.i.v.e at the same time as shelby and laura (and nor would otto, come to think of it).

anyway, i’ll do a tl;dr with the final timeline below.

TL;DR (final timeline)

1960s: h.i.v.e is founded.

1979: raven is born.

1980s: both duncan cavendish and diabolus darkdoom presumably attend h.i.v.e during this period. the zero hour contingency plan is drawn up.

1990: overlord is created in a lab in northern china, and is destroyed by number one. it then takes up host in his body. there are three named survivors: nero, wu zhang, and xiu mei. raven is sent to the glasshouse.

1991: wu zhang and xiu mei move to japan and rename themselves as the fanchus. they fall in love around this point. this is also the year where raven tries to escape from the glasshouse and claws out pietor’s eye.

1992: overlord/number one starts work on cloning himself. xiu mei falls pregnant, and possibly gives birth.

1993: otto, shelby, wing, nigel, franz, laura and lucy are all born at varying points throughout the year. this is most likely also the year where dimitri is shot by anastasia furan, and raven is forced to murder tolya.

1994: presumably the year when h.i.v.e’s original location is compromised, and plans start being made to relocate from the icelandic facility.

1995: nero meets with the architect/his father to discuss his plans for the new h.i.v.e facility. raven tries to kill him. the first glasshouse burns.

1996-2005: construction on h.i.v.e 2.0 is completed. overlord slowly takes over more and more of number one’s body. survivors of the overlord incident start disappearing. xiu mei dies of unknown causes. nero receives his half of the amulet. lucy’s parents die of natural causes and she is sent to italy. gregori leonov’s son, yuri, attends h.i.v.e and graduates. cypher pops into existence around this time. diabolus darkdooms fakes his death.

2006: otto, wing, laura, shelby, franz, and nigel start attending h.i.v.e (cue the events of book one). duncan cavendish becomes prime minister.

2007: cypher launches his assult on nero after successfully convincing the contessa to join his cause. after cypher is captured and his identity is revealed, nero keeps him alive unbeknownst to number one. by august, everyone is fourteen.

2008: cue the events of escape velocity. number one and the contessa die. diabolus darkdoom is elected leader of g.l.o.v.e. cue the events of interception point. otto turns fifteen. lucy joins h.i.v.e at the beginning of september and the events of dreadnought take place. otto does not return to h.i.v.e.

2009: events of rogue. cypher and pietor furan die. otto turns sixteen at the end of august. laura’s baby brother, douglas, is conceived.

2010: douglas is born. the events of zero hour occur. lucy dies. overlord is destroyed. nero becomes leader of g.l.o.v.e and fires the ruling council. duncan cavendish steps down. construction of the new glasshouse is completed. otto turns seventeen. penny and tom join h.i.v.e. the events of aftershock occur, and otto is expelled.

2011: the events of deadlock occur. raven turns thirty one. tom dies. the new glasshouse is destroyed. the countdown for the disciples’ new batch of clones begins at 99 days. the artemis project discover the existence of h.i.v.e. at the end of year, otto is eighteen.

2012 onwards: otto turns nineteen and hopefully graduates h.i.v.e.

#h.i.v.e #otto malpense #the overlord protocol #escape velocity #deadlock #rogue #zero hour #aftershock #long post

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travllingbunny · 4 years

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The 100: 7x02 The Garden

I love this episode. Mostly for the beautiful and emotionally complex Octavia-centric flashback story, for all the exciting revelations about the nature of the Anomaly and time dilation and the overall story of this season (all the exposition was done in a surprisingly natural way and never bothered me), and the way the two timelines were interwoven. It says a lot that I wasn’t even bothered by the lack of Clarke or Bellamy - or the fact that this episode featured only 6 characters (plus some extras in suits), one of which was a deranged minor character we’ve never seen before. Episodes focused on a small number of characters and plots often feel more coherent.

Comparisons between The Garden and Eden are obvious, the two even have basically the same title, and many similarities and contrasts, so I rewatched Eden yesterday, and I’ll be writing a post about that episode soon, too. I rewatched the entire show just before season 7 started, but season 5 is the only one I’ve never written reviews of, so this seems like the right occasion. it will also be interesting to rewatch Red Queen after this.

One of the things that I noticed rewatching season 5 is how well the cinematography has been used in seasons 5, 6 and 7 and how it differentiates different worlds. The ruined Earth in season 5 was mostly in sepia, yellow and grey tones, looking like a gloomy desert - except for Eden, which had normal colors. Sanctum has bright colors - it’s beautiful, but a little too colorful, almost psychedelic, dangerous. Skyring in this episode mostly seen in soft light and blueish-green colors - a peaceful paradise.

Or is that a prison? A solitary/house arrest? I love this duality - it can be both. The most beautiful place can be a prison that drives you insane, if you’re all alone.

One garden, two serpents

Isolation is a theme we’ve seen on The 100 with many characters: Clarke was in a solitary for a year, distracting herself with drawings, then alone roaming around for 3 months, then forced to spend 6 years on a deserted planet, but she was only completely alone for the first 2 months, when she was fighting with nature and lack of food and water as much as with loneliness, and she was talking to Bellamy every day - who couldn’t even hear her - and hoping to see him again. Murphy was alone for 3 months in a fully stacked bunker on Becca’s island, but comfort is no help when you’re all alone, only have one and the same videos to watch and music to listen to, and you don’t know if you’re getting out. Octavia was the Girl Under the Floor for 16 years, and she had her mother and brother, but no one else; then she was locked up for a year; and after all the fighting, including the 6 years in the bunker with 1200 people she ruled over (which was maybe the time when she was more lonely than ever!), she ended up spending 10 years of her life on a planet with a family of two people - again - and no one else, and - just as when she was a child - with little hope that she will ever have a chance to meet anyone else. And here we see the effects of a prolonged isolation from everyone else, with poor Orlando (that’s what he’s called in the end credits), the prisoner who dug out dead bodies and used a creepy doll just to have an illusion of friends.

Unlike Clarke in 5x01, Octavia did not have to struggle with loneliness or fight to survive, but the paradise in which she had accidentally ended up in was also a prison of sorts, since she could not get out of it and was likely to spend all her life there, without ever seeing her brother or any other people, except for Diyoza and Hope. Like Clarke, Octavia found a family, and a child to take care of, but unlike Clarke, Octavia did not become a little girl’s adoptive or substitute mother.

The title evokes Diyoza’s line from 5x13: “One garden, two serpents. Eden never stood a chance.” Instead, they got to have their paradise here, until Octavia’s attempt to send her brother a message brought the Disciples from Bardo there to capture them. I’m not sure if that was a bad or a good thing - since that was probably their only way out of Skyring.

(There’s also a literal garden in the episode, and this was the first time we saw Octavia farm the land since 4x09, when she learned how to do it on Ilian’s farm. That was the last time Octavia tried to escape her darkness by having an idyllic farm life and a relationship, at least for a few days before the end of the world comes, but her past came back in the form of those people who recognized and attacked her - and she realized she wasn’t cut out for peace and rode into Polis looking for a war. She wasn’t ready at the time to give up violence. In season 5, she insisted that “Farmers won’t save the world, warriors will” - which Monty proved wrong. And now, Octavia has become a farmer.)

But Octavia’s paradise was forced on her, and it was clear that she and Diyoza didn’t really feel the same about living the rest of their lives on Skyring. The difference is, Diyoza doesn’t have anyone else in the world she cares about - everyone she once cared about has been dead for centuries. and she has given up on trying to change the world. She obviously wanted to do it once, when she was fighting “the fascist government who tried to take my home” and blowing up buildings, but she’s now tired of the violence, after being a terrorist/rebel, then a prisoner of a big corporation, again a rebel fighting against that corporation to save prisoners from being left to die just because they were deemed expendable, then she led another war - which ended with her baby-daddy destroying the Earth, and now she’s tired of the violence and wants to have a different life in peace with her daughter, who she didn’t even want to teach fighting of any kind. She’s also content to live without ever reuniting with the rest of the human race. Maybe partly because she was quite hurt to learn that she was supposedly in history books as one of the worst people ever. (Which she really shouldn’t have taken seriously - since it was Russell who said it, so these “history books” can only be Sanctum history books, written by Russell or his family members or other Primes. They left Earth around the time when Diyoza was just arrested, so it’s unlikely they even knew what history books said about her in the next few years - and even if those history books said so, they would be history books written under the same government Diyoza was fighting against.)

Octavia, on the other hand, still has other people she cares about in the world, most of all her brother. Not only did she leave a time when she knew Bellamy and others are likely to be in danger from the Primes - and she had no way of knowing they had learned the truth about the Primes by themselves - but they parted on bad terms and with unresolved issues and with no catharsis, and Bellamy would probably be left thinking she really died when he left her on Alpha - instead of learning that she did resolve her issues and find peace. She didn’t know that her attempts to get back the way she came, through the lake, would never work - if she had succeeded, she would have probably ended up on Bardo instead. Ironically, only when she made peace with the fact she couldn’t go back and sent a letter in a bottle, it ended up alerting the Disciples - but it all eventually resulted in Octavia ending up back on Sanctum in the same place she left (whether she escaped and came back from Bardo or through some other planet?), and got the chance to tell Bellamy in person that she understands him now.

There’s some ambiguity about Octavia’s relationships with Diyoza and Hope - at times it seems that Octavia is Hope’s co-parent: she lives with them and is closely involved in raising Hope, after all - not exactly like an aunt who just occasionally visits and plays with the kid. All three of them are shown as a close family unit. However, Octavia does not see herself as Hope’s mother - nor does Hope see her that way. She is “Aunty O”. Hope has a mother, and not an absent or inattentive one, but someone like Diyoza, fully focused on raising her daughter. Octavia and Diyoza may be seen as sisters - with “Aunty O” and Octavia telling Bellamy in the letter that she loves her like she loves him even though she’s a ‘pain in the ass’. Or they could look like “an old married couple”, as Diyoza called them back in season 6 when they were finishing each other sentences.

(But if we’re supposed to think that Octavia’s and Diyoza’s close relationship never got sexual in any way, in spite of the fact they lived together for 10 years without any other adults around and with almost no hope they would ever see another adult, then I guess one or both of them is really extremely heterosexual, real 0 on Kinsey’s scale. If we’re supposed to think that. Technically, we don’t know for sure.)

Anyway, this ambiguity of whether Octavia was a co-parent to Hope or not has caused some debate on Twitter about what degree of responsibility Octavia exactly had towards Hope and whether she was allowed to leave her. But even if Octavia is seen as a co-parent, I don’t subscribe to the idea that every adult, especially a woman, who comes into the situation of taking care of a child must immediately forget about all other relationships, concerns and desire and subjugate their entire life to taking care of that child. Especially when it also means that the child will be isolated from the world at large. I didn’t think it was healthy when Bellamy’s whole life revolved around protecting Octavia, either, or when Clarke, after escaping Polis in season 5, thought for a moment that her and Madi living all alone, as they did during those 6 years, would be an OK future for either of them.

Octavia may not have thought the whole time dilation through (yes, it’s quite likely Hope would be old or die before she returned from Sanctum with the other people, since she’d need time to find Bellamy and others, explain things to them and back them go back, but she still had hope (no pun intended) that both she and Hope could have more of life than and was still fighting to make contact with her people on the other side. Diyoza may have been right about the time dilation, but how did she imagine Hope’s life was going to be in the future? Yes, if Octavia left, Hope would end up alone after Diyoza died. But if Octavia stayed, Hope would still be left all alone after Diyoza and Octavia died, and never got a chance to meet anyone else, have any other kind of life, be a part of the human race.

One may argue Diyoza was being selfish, trying to keep Octavia there, and she certainly did take away Octavia’s choice and forced her to stay. Though, in her defense, she thought she was saving her life - but it was still was one of those “I’m making choices for you because I know what’s best for you”. And it wasn’t her whole motivation - it was mostly about wanting to keep Octavia there as a part of their family unit. Octavia called her out on the fact that it wasn’t all about Hope, it was about their relationship, too. Which certainly seemed emotionally intense, with Diyoza being hurt and sort of jealous at the thought that Octavia would leave her and Hope and that she may love her less than she loves her brother.

The episode played a lot with the parallels between Octavia and Bellamy, with O using what she had learned from Bellamy to take care of young Hope the same way. And the parallel between Octavia and Hope as “Girls Under the Floor” were even more obvious, even before Hope literally had to go under the floor to hide from the Disciples. That would put Diyoza in Aurora’s role and Octavia in Bellamy’s. It’s not a perfect parallel, as Bellamy didn’t have any other strong attachments to anyone or any other family while Aurora was alive. But, while Aurora seemed to have no other vision for the future except focusing fully on hiding Octavia, Bellamy tried to give his sister an opportunity to meet other people and live a life - by taking her to the dance - and Octavia was similarly the one who wished to bring other people to Skyring and was giving Hope the hope (!) she would meet them.

The Three Stooges and the Anomaly

(Thanks @jeanie205 for that moniker LOL) The one thing that brings down this episode (I’m taking away half the point from it) is the very unlikely degree of plot-induced incompetence that the trio of Hope, Echo and Gabriel displayed throughout this episode - so they could get stuck on Skyring, maybe for 5 years:

Hope knew the bridge was under the lake - she should have known the note could get washed up!

How come Hope didn’t know there was more than one door to the cabin? Or if Orlando built the other door, or someone else who was there while she was away, how come none of the trio noticed that other door?

Even the windows looked big enough for someone to come in. Why didn’t at least one of them stand guard in the cabin? Or at least somewhere close where they could see what’s happening in the cabin? Why were they both sitting somewhere outside? They weren’t even close to the door. Did they think Orlando could only come into the cabin from one direction?

Why didn’t Gabriel take the memory viewer with him when he ran out? Come on, dude, that’s one of the most important things you have there, and you know there is a deranged guy outside, and you just leave it there?

Still, I enjoyed this part of the story, too, especially with all the new info we got - which got me speculating the whole week - see my theories here.

Gabriel is so adorable as an old man scientist in a young body and even the fact he is more interested in the Anomaly than in any living human is kind of endearing. We also got a glimpse of the nerdy young doctor who was once crushing on Becca before going to the mission and meeting Josephine.

Echo is finally starting to justify her main character billing this season, getting an actual storyline rather than tagging along around Bellamy, and she is already a much more enjoyable character. She hasn’t actually changed much yet - but she’s now put in the position as an audience surrogate, wondering what the heck is going and asking question like “Where is Bellamy?” while Hope and Gabriel spout exposition (they do it so well though that you don’t even mind it). It helps a lot that she’s not around any of the Spacekru, so we don’t have to deal with the forced “we’re all close family due to the 6 years off-screen, which we spent in utter boredom and without any actual dangers we’d have to deal with” dynamic. Instead, now a character she’s interacting with (Hope) and Echo’s own hallucinations are constantly calling her out on her past actions, which helps fix the issue that season 5 created - the impression that Echo is the one character who doesn’t have to deal with the consequences of her past actions, with her past being simply waved away with “they spent 6 years with her and she’s now one of the good guys” (Although, while I like Hope calling Echo out, Hope got it wrong - Echo didn’t kick Octavia over the cliff after stabbing her, Octavia tripped and fell. But that’s not the first time in the show the writers Octavia has misremembered an event.)

This will be the second time Echo is stuck somewhere in a peaceful place with just a few people for 6 5 years. How much of this will be off-screen? It certainly helps that we’ve already seen her interact with Hope and Gabriel in two episodes, and the dynamic between Hope and Echo is developing, with Echo starting to comfort Hope when Hope showed vulnerability behind her fast-talking snarky exterior.

Echo still doesn’t seem ready to “face her demons”, since her reaction to her own hallucination telling her she’s still just a killer and asking her who she is if she doesn’t have someone (Bellamy) to follow, was to ignore it and try to kill people and now swear she’ll kill everyone she needs to in order to get to Bellamy. But I assume this is just the beginning of her long overdue character development.

Was there significance to Echo plucking the flower and then looking at the sky? Was it simply her starting to appreciate the beauty of the planet? t It reminds me of how Clarke was touching the flowers in Eden in 5x01.

Other observations:

Technically, I guess this episode was really Hope-centric, since she was the only character in both timelines.

I’m not sure what exactly the scientific explanation is for Octavia’s arm healing the moment she got to Skyring. How does the whole temporal flare thing work?

"What is it about Bellamy that makes otherwise sensible women willing to die for him?” - I see what they did there. I bet this is a hint about what the focus of a lot of this season is. Hope meant Echo and Octavia, but we know that Clarke’s storyline will also soon become about looking for Bellamy “her missing people”, “her family”, “people she loves”. On the other hand, I’m not sure how much it makes sense for Hope to ask that - she must have heard Octavia’s stories about Bellamy, so she’d know what it is about him that’s so special - his devotion to those he loves and how ready he is to do anything for them. But maybe Hope felt some of that same jealousy Diyoza did, or her mom’s jealousy rubbed off on her, because Octavia kept trying to get back to her brother.

It’s interesting that Octavia named “Bellamy, Clarke and Madi” as the main people she wanted to bring here. She didn’t mention Raven or Miller (as she would if she was talking about the Delinquents as a family going back to season 1, or even her mentor Indra, or friend Niylah. Just Bellamy and Clarke and Madi - as a part of her family she wants to bring. There’s no reason why she’d see Madi as her family but not Indra, so this definitely seems like Clarke and Madi are seen as Bellamy’s family and a package deal in Octavia’s eyes. (And that’s before she even witnessed what happened in 6x10.) Not that surprising considering Octavia’s “another traitor who you love” comment from 5x08 and her dislike of Echo. Ironically, almost killed all three of them as Blodreina, which is maybe also a sign of how much she’s disconnecting from that role - even though she hasn’t gone through her 6x09 Face Your Demons hallucination yet.

It turns out Octavia was older than Bellamy in 6x09-6x13. The green box was probably her peaceful life on Skyring that she did not remember. But the red box was the unfinished business with her past. It seems that she was changed psychologically by her time on Skyring even without remembering it.

Hope is now the third child raised on stories about the Delinquents. Little Hope liked Murphy, just like Jordan did during his “rebellious phase”. Madi, however, was an Octavia fan.

I guess Orlando saw Hope’s name written on the door, since it doesn’t seem they ever met before. But where did the creepy doll come from?

If prisoners all end up insane as he did - and they probably do, after such long periods of complete isolation - that’s a really messed up way of making people into “true believers”, by breaking them completely. A solitary confinement that’s years long? Cruel.

The Bardo symbol (Phoenix) was seen in the bucket and bottle Octavia was using, which proves that the Bardo people had already been on the planet before Octavia and Diyoza ended up on it.

If Orlando had no one else to dig out, I guess they always make sure to bring the prisoners back after they’ve served their sentence. But they probably killed Dev. I hope we get the story about Dev and Hope in flashbacks. Seeing what his facial expression was at the time of death, that guy certainly didn’t die a natural death.

The Becca cameo was cool, and this was a whole new face of Becca, kind of cheeky and funny. But her comment that time dilation is “sexy as hell”... um, OK, Yeah, how lucky you get to “get to the future faster” and possibly die before getting a chance to ever reunite with anyone else you know? To be fair, she did not expect all the others in the mission to die and leave poor Colin on his own.

Gabriel “had to be sure she (Josephine) was really gone”. But maybe a part of him deep inside hoped she wasn’t..

So the Anomaly was already there when Colin Benson crashed on the planet. Hmm... that seems to go against my theory that the Anomaly Stones were made by humans at some point during the previous 230 years, but I’m still not giving up on it. Eligius 3 must have travelled longer to Skyring, if it is so far away from Earth and Sanctum, I don’t think that “Beta” meant that Skyring was the second stop of Eligius 3 - maybe the planets were graded by how good conditions they had for human life. Which would put Sanctum and Skyring at the top, but Sanctum was closer. And with all sorts of time shenanigans going around, maybe there’s some way that the Anomaly Stones could have been placed there by humans. I just can’t believe that it was really some alien race millions of years ago, especially with the Anomaly symbols looking like Greek letters, many of those used in physics or math, the gender symbols, and the infinity symbol is there, too.

This was one of the rare episodes of The 100 where no one died. Though we did learn about some people’s past deaths.

Rating: 9/10

#the 100 #the 100 7x02 #the garden #the 100 season 7 #octavia blake #charmaine diyoza #hope diyoza #gabriel santiago #octavia x diyoza #echo kom azgeda #bellamy blake #madi griffin

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noona-kisses · 4 years

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Search Query: WWW (Series Review)

Search Query: WWW popped onto my radar when it was announced last year because it was a Noona Romance -my favorite kind of K-drama. Sadly, I didn’t get to watch it then because I was busy with my job at a Korean hagwon, applying for jobs in Japan and preparing to move, and then later actually moving. I was able to watch it recently, though, and I really wanted to put my thoughts about it down, because I have many. Future reviews of dramas will probably follow a 2 episode per post format; basically following the weekly airing styles. This one, however, will be a basic overview of the series and my thoughts on the ups and downs of it. I’m ready and willing to have discussions, because I have A LOT of thoughts on this drama and I’m always interested to see how other people interpreted things.

So let’s get it started!

Synopsis:

Bae Ta Mi is a 38-year-old director at one of Korea’s two biggest web portal sites, UNICON. Due to UNICON’s corrupt Korean infrastructure, Ta Mi ends up fired from her position and beginning at new job at UNICON’s main competitor, BARRO, with only one goal: to destroy UNICON. Along the way she ends up meeting Park Mo Gun (often written in subtitles as “Morgan”), the 28-year-old CEO of the gaming music production company Millim Sound and begins a complicated relationship with him.

What I Liked:

Female Representation:

I didn’t want my synopsis to be too long, so I purposely said nothing about our other characters, but let me make this clear: I was LIVING for the relationships between our three female leads. Bae Ta Mi, Song Ga Gyeong, and Cha Hyeon are all women who, by society’s standards, are unlikable. Ta Mi appears cold to people who don’t know her and she’s not afraid to speak her mind, and she’s extremely confident in her own abilities. Ga Gyeong is clever and cunning, as well as ambitious, and she’ll do anything to achieve her goals. Hyeon is physically strong and opinionated, and she is definitely not afraid to make those opinions known. And these descriptions can’t even begin to really depict what the characters are like onscreen.

All three of them are completely different from the women we see in the typical K-drama. These women don’t need a man to save them, and they definitely won’t let a man distract them from what they want. They also refuse to bow down under pressure. Add to this that all of them are in positions of power in their companies (Ga Gyeong is second only to the CEO, and Ta Mi and Hyeon are both directors) and are the ones calling the shots, and you’ve got some incredibly powerful females. Even our female baddies (Ga Gyeong’s mother-in-law and UNICON’s CEO) are women. The women in this show are powerful, diversely written (some side characters are very uncertain, or man-obsessed, or smart) and the impact this makes can’t be denied. As a 30-year-old woman, I was rooting for all three women and was so happy to see characters that I could really relate to.

Complicated Female Relationships:

Often in dramas I see the relationship between females falling into two categories: endlessly supportive and close besties, or bitter enemies. I absolutely love that this drama went beyond that. It was a clear depiction that friendship can be a maze, and one wrong turn can get you stuck. For example, a flashback and Ta Mi’s own words tell us that her and Ga Gyeong used to be very close and friendly, until Ga Gyeong got married and promoted at work. By the time we really meet them, they’re at each other’s throats. We know, as viewers, that it’s because of complicated reasons (Ga Gyeong is under A LOT of pressure from her mother-in-law and parents to do things Ta Mi doesn’t agree with), but the characters don’t know that, and that’s the point -in real life, you don’t know anything unless the other person tells you. Similarly, Hyeon hates Ta Mi because she thinks she’s sneaky, and basically the root of all of UNICON’s evil. It’s not until she begins to work closely with Ta Mi that she can really see what she’s like, and that she’s more complex than Hyeon originally thought.

Conversely, Hyeon adores Ga Gyeong and still thinks of her as the kind, helpful and honest girl she used to be in high school because that’s what Ga Gyeong shows her. Hyeon rarely sees the side that Ta Mi saw for so long, and it puts a small kink in the relationship when Hyeon realizes Ga Gyeong might not be as good as Hyeon thinks she is. Our trio fight, bicker, and threaten each other even as they protect and save one another at the same time. They aren’t all BFFs by the drama’s end, despite the awesome final scene -but they understand each other more, and I really appreciate that the writers kept that complexity until the end.

Modern Issues:

I really, really love some of the issues the drama talks about. The debate about deleting keywords from the ranking (celebrity vs. civilian, rumor vs. private life) was interesting to watch because I honestly never thought about that before. Western portals don’t use keywords the way the show does, but doesn’t Google still use a dropdown menu of the most searched words? Doesn’t Twitter show the top trending hashtags? Being placed on there could seriously negatively affect a person’s life, and I love that the show tried to create a discussion over whether it was ethical to delete keywords, and how the decision can affect those involved (i.e., actor Ha Min Kyu wanting to die because people are criticizing his former host bar job and Ta Mi almost crumbling under the weight of knowing she pushed for the decision that caused his attempt).

As a woman who is hesitant on marriage, I was also loudly cheering when Ta Mi called Mo Gun out on his assumption that her wanting to live together but not marry was weird. She tells him that society considers his view (getting married) normal, and that he will never have to explain why he wants to get married because no one questions it since it’s expected, while she is always going to have to explain why she doesn’t want to get married because society considers her the odd one. This is especially relevant to Korea, where women are still expected to get married and have kids in their twenties, and any woman who doesn’t want to get married is considered strange.

The drama also talks about the issue of familial obligations through Ga Gyeong and her husband, Jin Woo. Her parents basically expected her to marry well and obey her husband’s family to help their own company out, while Jin Woo’s mother expects him to help her keep Ga Gyeong on a leash and connected to her. Ga Gyeong and Jin Woo both hate their parents, and by the end of the drama both of them are refusing to do what they’re told -which, again, goes against a piece of Korean culture that is still strong to this day. Children are expected to take care of their parents in their old age and to respect them and their decisions. Ga Gyeong and Jin Woo together basically make the point that there is a limit to what children should be expected to do for their parents. Yes, it’s told through the chaebol lens, but the lesson is still important to working class families also.

The drama also has one big issue that’s discussed, beginning to end, through the interactions and relationships of our characters: communication. In today’s world, communication is becoming more and more difficult, even as more forms of communication are being created. And lack of communication causes problems. If Ga Gyeong had been open with Ta Mi about the reasons she was making certain decisions, Ta Mi never would have thought so ill of her. If Jin Woo had been more open about his own feelings and wants with Ga Gyeong, he might have been able to show her how much he cared before she left. Hell, they might even have been able to do something before divorce became a necessity. But there are scenes within the show that also stress how important communication is, most notably when Alex is head-hunted by UNICON. Ta Mi reservedly tells him she’ll support him no matter what, even though she knows they can’t afford to lose him, and it’s not until Brian (BARRO’s CEO) says she needs to tell Alex this, that she does -and realizes he didn’t want to leave, but he felt like he wasn’t needed anymore.

Ta Mi and Mo Gun’s argument about marriage is also an example. They never sat down and really TALKED about it. He just kept saying “It’s okay, I can wait” and Ta Mi never REALLY pushed him to discuss and think about the topic as hard as she needed to. It became a recurring issue in their relationship and was pretty much the main reason they had so many problems. It’s an issue that doesn’t have an easy ending, but if both parties FULLY understand it, then it’s easier to be in the relationship. Another example is Hyeon’s early judgement of Ta Mi. Hyeon never really talked to her. They would argue and debate during meetings at times, but they never really discussed their personal beliefs about their work and why they thought that way. If they had communicated more openly before, Hyeon probably wouldn’t have been as harsh to Ta Mi in the beginning. There are tons of examples throughout the example of why people need to communicate, and I’m thrilled a drama attempted to create a discussion about it.

Men Supporting Women:

In this drama, the women are in charge. Sure, Jin Woo’s family is the one Ga Gyeong is stuck doing the bidding of, and Brian is BARRO’s CEO and the Korean president and all those higher in power in government are male -but it’s the women who are the ones with the real power. It’s Ga Gyeong’s mother-in-law who basically rules KU Group with an iron fist. Ta Mi and Hyeon are the ones who put BARRO on the track to beating UNICON. Ga Gyeong is the one who fights back against the dirty dealings in UNICON. And in the wake of these women are the men supporting them. Jin Woo gently offers shelter and aid as Ga Gyeong fights his mother, and even speaks up against his mom when she tries to have him bring Ga Gyeong back into the fold; Brian gives advice but otherwise lets Ta Mi and Hyeon do what they think is best for the company; Mo Gun acts as Ta Mi’s shield and comfort when things go wrong, but he cheers for her all the way.

I love seeing how much the good men in this show support the women in their lives, and how they show that support. One of the greatest scenes is when Ta Mi and Hyeon make to block the acting CEO of BARRO (Kevin) from walking into the building to sign a harmful regulation. Brian walks in to take his position back and help stop it, but after that the entire scene focuses on Ga Gyeong walking to take her place as UNICON’s new CEO and Ta Mi and Hyeon strutting through the building in pride at standing up for what they knew was right. Brian quickly becomes a background piece as the screen is filled with our three heroines. If more men in reality were like the supporting men in this drama, I know women would be better off.

Music:

This OST is BOMB. I loved every piece of music I heard, from the instrumentals to the voiced ones. Mamamoo’s “Wow” is a power pop song that makes me stand straight every time I hear it, and Elaine’s “Search” always gave me a thrill because I knew amazing things would happen when I heard it. The music can really make or break a drama (I’ve watched some dramas that made me roll my eyes HARD at the song choices), and this one chose its pieces well. The songs fit the scenes and I will most definitely buy the OST in the near future.

What I Didn’t Like:

Ta Mi & Mo Gun’s Relationship:

I’m going to say it: by the drama’s end, the lead romance was easily my least favorite part of the show. Don’t get me wrong, it started off okay and I loved it at first. Their first meeting, how quickly they connected, the small jokes they had -it was adorable, and I honestly squealed a little bit. And then they broke up. Then they got together. Then they broke up again. Then together again. When a couple has a dramatic breakup three or four times in 16 episodes, there is a SERIOUS problem that needs to be addressed, not to mention that final breakup loses its edge because a viewer is left going “I’ve already seen that before.” I understood why Ta Mi kept pushing him away, but I really, really disliked the fact that she was so wishy-washy about it. One push away before a big finale breakup and reunion, fine. But two or three? No, that’s when you know the relationship shouldn’t be happening in the first place.

I also disliked the relationship because of how Ta Mi acted/looked with him after the first few episodes. She always looked tired and withdrawn around him. A relationship isn’t supposed to make you feel or act that way. I don’t think it’s the actress’s fault (I put full blame on the director here), but as characters in a show I should see that the relationship does energize her -but even some of their more active scenes (like the piggyback vacuuming scene) shows her as lethargic and almost uninterested.

But, again, it was the constant breakups that annoyed me the most. As I mentioned above, one of their biggest issues was about marriage: Mo Gun wanting it, Ta Mi not wanting it. In real life, this is an issue that’s a deal breaker with two people. A GOOD writing of this problem is done one of two ways: either the couple agreeing to date and see what happens because they care about each other after talking about it, or the couple staying apart because they can’t deal with the uncertainty. Either way, the couple communicates their wants for the future, discuss possibilities, and then sticks to whatever decision they make. And like I said, one breakup over this is fine. But these two continued to break up over this over and over again and it drove me insane. I got SO tired of their relationship by the second breakup I was tempted to start skipping through their scenes together. That’s a pretty good indicator that the romance needs work.

Lack of Flow:

In any kind of writing, whether it be for a novel or a screenplay, there has to be a good flow. Each scene should glide effortlessly into the next one, and storylines should work together as a cohesive unit, not push the viewer out of the story. Honestly, I feel like this drama would have been pretty damn perfect if the romances for Hyeon and Ta Mi had been tossed out, and we had only focused on the women and their work the entire time. I feel this way not because I hate romance (I love it to death and Hyeon and Ji Hwan were adorable together) but because every time the show went from our heroines fighting in the business world to them giggling with their beaus, I felt like I was watching a different drama. The tone of the drama, and the women themselves, changed dramatically anytime the story shifted to focus on the romance.

In addition, I also felt that the romance was shoe-horned in. I told a friend of mine, “I’m convinced the writers wanted to make the women lesbians and kept forgetting the men even existed.” I still stand by that, because I swooned more during some of the women’s scenes together (Hyeon moving Ga Gyeong out of harm’s way, Hyeon drunk and sharing Ta Mi’s bed, Ta Mi giving Ah Ra her expensive purse) than I did during any of the scenes with Hyeon/Ji Hwan and Ta Mi/Mo Gun. The romantic scenes with them (especially with Hyeon and Ji Hwan) often felt like the writers went, “Oh, yeah, we have to do something with those men” and then wrote them in. This drama isn’t the worst case of incohesive writing I’ve seen (“Strong Woman Do Bong Soon” takes that prize with its identity crisis), but it was bad enough that I had to reorient my brain when we went from business to romance.

Final Episode:

Hear me out: I loved everything about the first part of the episode with the reading of the ethics guidelines, Ga Gyeong destroying KU Group, and the final scene with the car. My issue is definitely not with that. My issue is that over half of the episode is dedicated, yet again, to Mo Gun and Tami’s rocky relationship. I had to sit through almost forty minutes of a woman moping over the man she pushed away and their inevitable reunion. I wanted more of an emphasis on the OTHER side of the story. Where was Ga Gyeong those three months she was gone? What made In Kyung decide to actually help her? How was UNICON faring after Ga Gyeong stepped down? How did the politicians really deal with the revelation Ga Gyeong put out there?

I really wanted to see how our heroines’ actions up to that point affected their lives and the lives of those around them, as well as their relationships to each other. I wanted them to get their payoff for all their work and the fights they went through. Instead, I got a pretty rushed finish to that one and then sat through half an episode of Ta Mi running from her feelings. I feel cheated, almost, and that’s not a feeling I want to leave a drama with. Even though that final scene in the car was GLORIOUS, I wish the drama had done more for this women in the finale than just keep their romantic relationships alive. Or, if they were determined to have romance, focus on Ga Gyeong and Jin Woo, the ONLY couple I cared about in the entire show.

Overall:

Despite my heavy criticisms at the end there, I really did enjoy this drama. I cried, laughed, and cheered with these women. By the end, I felt I had made three new friends and found some awesome role models for myself. Ta Mi, Hyeon, and Ga Gyeong alone are enough to give this drama a high rating, but I’m giving it a 7/10 because despite its faults I did enjoy the ride and for once a drama made me care about the shady business side of its story -that’s extremely difficult to do.

So if you love strongly written female characters who are more like someone you’d find in real life than a make-believe fair princess and who will readily take their lives and their fates in their own hands, you definitely need to check this drama out. I adored it and will watch it again whenever I need a reminder that women are badass and shouldn’t hide it.

#kdrama #searchquerywww #www #searchwww #search www #k drama #k-drama #search query www #lim su jung #lee da hee #jeon hye jin #tvn #review #mythoughts #drama #koreandrama #korean drama

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salty-dracon · 4 years

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More YTTD Theories Because I Forgot A Bunch

A continuation of this from a couple of days ago.

More theories, spoilers go up to 3-1A, and also include YTTS spoilers. Also I appreciate all of your thoughts on the matter.

In the previous post I said there were a few reasons to be suspicious of Gin. I forgot to mention one important point:

Remember the locker room and the Discussion there, where Hayasaka and Gin got magnetized to the ceiling and almost hung? According to vgperson, you can win the discussion by letting time pass three times after Hayasaka is magnetized. But after the second turn, Gin gets magnetized as well. And one turn after that, the mechanism is shut down by Midori. He makes sure “those two” are still alive via the intercom, and once confirming that they are, says “oh goodie, we can still play some more!“ and fucks off. Basically, you’ll win no matter what, because Midori doesn’t want them to die.

Midori says he observes all of the floors in the painting room, but he doesn’t really give “instructions” once they arrive or anything similar. Depending on what he’s using to monitor the room, he more or less uses his abilities to mess with the participants and the dolls. Think about how he spooks Sara and crew by saying “I’m not a painting!” if you look at the painting of him, or how he lets the crew get their hopes up about the transceiver until he speaks through it. However, he says he observes all of the floors, meaning he knows what goes on in each one. And though he’s not about losing well (he wants to kill people with the gun if he’s in a bad position, after all), he seemed to be concerned enough about Hayasaka and Gin to try and save them.

Considering he didn’t try to save Hayasaka the moment he could, and seems to have some form of disdain for the dolls, I wonder if it’s Gin he was trying to save. That brings up the question of why someone like him would want to save Gin in the first place. Maybe he’s allied with Gin somehow, whether Gin knows it or not.

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(Danganronpa 1 and AI: The Somnium Files spoilers in the next paragraph)

One interesting prediction rule when it comes to murder mystery games is that the culprit is “someone who’s been mentioned several times, but who we’ve never actually met”. They almost pulled that twist in Danganronpa 1 with a certain missing student. They mentioned her by name, making us think she was the mastermind for a while, before revealing the truth. The other big example I can think of is AI: The Somnium Files, wherein the serial killer in question is mentioned by name more than once, but we don’t actually meet him, knowing it’s him, until near the end of the game and after we’ve unlocked most of the other routes.

Extrapolating this to Your Turn to Die, there is one character we haven’t met yet who’s been mentioned more than once- that being Sara’s mother. We see her at the beginning of the game, passed out presumably due to an attack by Sara’s kidnappers. She’s brought up again by Sara’s dad in a flashback before Chapter 2, and then again when Kai leaves a message for Sara on the laptop. The password to that file is her mother’s name. Furthermore, we know her rough appearance, as based on seeing her passed out in Chapter 1. And taking the events of YTTS as canon, we know that Sara, or someone that looks exactly like Sara, is somehow involved in Asunaro’s AI experiments. There’s also one interesting oddity about her. As far as I remember, she’s one of two characters to get a background sprite, but not a foreground sprite. Here I’m referring to “background sprites” as the sprites that appear inside environments without black outlines, and foreground sprites as the sprites with different expressions that usually appear when you talk to a character. Every other character, notably all of the Death Game participants, the Floor Masters, and now the Dummies thanks to Chapter 3, have both foreground sprites and background sprites. Some characters, like Sara’s father and the man that Keiji killed, have only foreground sprites. The only two exceptions, that is, the only two characters whose faces we haven’t seen in perfect detail, are Meister and Sara’s mother.

Furthermore, we don’t know what Sara’s mother’s name is. Granted, we don’t know what her father’s name is either, but her name is apparently important. What if her name was also Sara Chidouin? What if she was somehow also Sara- as in, the Sara we know is a clone of her created using a doll? It’s a mystery why she’d be raising a clone of herself, but people are weird like that, sometimes.

Another related theory people have had is that Sara’s mother is in fact a part of the game- she’s just disguised as someone else. That someone else could be Miley. Though in my opinion Miley looks nothing like the background sprite I’m using for reference, a good wig can change everything. This theory might have become even stronger with the release of Chapter 3. There are a couple of situations in which Midori can say something along the lines of “Miley said you were cute when you got angry” to Sara. Though we could just take it as Miley being an asshole (she’s totally an asshole), I think there’s only one situation in which Sara got mad in front of Miley, that being when Mishima was killed. Maybe this was lost in translation, but it’s a rather sweeping generalization and a somewhat weird thing to say about someone if you aren’t familiar with them. Meaning Miley’s really familiar with Sara. Or Miley was just being an asshole.

After looking up Sara’s mother on the wiki the manga only has a picture of her wearing a mask over her mouth. The plot thickens.

Regarding the other character, Meister... people have made a couple of interesting observations about him. First, he shows up in collaboration artwork. Second, there is a person who looks very similar (albeit with grey hair) in the room above where the monitors were in Chapter 2. His clothing color scheme is exactly the same. Also it’s a big ass painting. Third, with the release of Chapter 3, there’s the entertaining feature of naming Midori whatever you damn well please, unless he makes some joke about it and tells you to pick another name. Most of his responses to you picking something like “Alice Yabusame” and “Tia Safalin” are either “here’s a fun anecdote about that character and/or what I think of them, but I don’t want that name“ and “that’s mean :( pick another name please“. Elect to name him Meister, and he only says “... Pick another name, please”. Considering his personality can be accurately described as “Kokichi if he were Monokuma”, it’s out of character. He fears Meister, or doesn’t want to be associated with him. So yeah, Meister’s probably important. Maybe he’s even the Meister-mind. (Feel free to boo me for that bad pun.)

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Regarding the game’s endings, most people seem to believe there’s two- a logic ending an an emotion ending. I agree with this viewpoint, as “choosing logic“ has been explored a few times throughout the game. With the release of Part 3, the choice of which ending’s which has become a little more clear.

If Alice lives and Reko dies, Q-taro says something along the lines of “The Dummies may be dolls, but they’re human just like us”. Implying that we, the humans, are also supposed to think of dolls as human as there’s no difference appearance or personality wise. Q-taro talks about Doll Reko being almost perfectly human, as a supporting argument, in reference to Alice who was unable to tell the difference between the Doll Reko and the real Reko. Remember also that the only reason we pushed Reko down the Impression Room was our logical conclusion that she was a fake. On the other hand, if we choose not to, Sara comments that despite the logic, she can’t see the Reko standing before her as anything other than real, even though there’s lots of evidence to the contrary. In that ending, the real Reko dies. Furthermore, there’s a little bonus snippet in the “afterlife” scene after Nao’s death, where Reko shows up, but Alice doesn’t appear if she lives.

For this reason I strongly believe that the emotion ending is Alice/Kanna living. Therefore the logic ending is Reko/Sou living. I have yet to test out to see if there’s any changes in dialogue with those two combinations specifically, as most people online seem to be playing Alice/Sou and Reko/Kanna. I’m streaming this game for a couple of friends on Discord, and also all my midterms are over the next couple of weeks, so it’s hard to find the time to play this right now.

I also believe that we’ll soon be facing another path split- maybe at the very beginning of 3-1B- that has to do with logic and emotion. Whatever that consent form is, it scared the other participants- it’s definitely a bad thing. However, Sara now faces the choice between saving Keiji and consenting to Whatever Evil Thing’s Going On, and sacrificing Keiji to avoid it. Logic would be sacrificing Keiji, while emotion would be saving him, in this case. Perhaps that’s not true, as Midori is the kind of person who can and would pull a fast one on Sara for funsies. Perhaps there’s something in his language implying that Keiji’s going to end up dead no matter what. He does seem to want to antagonize Keiji, after all. That, or someone else is going to die instead- probably Q-taro, having just been stabbed by Mai and being in bad shape. Even so, I wonder which will be which- whose death would be considered “logical” and whose is based on “emotion”.

TL:DR So many mysteries with so many possible answers. I just want to see someone vibe check Midori like he vibe checked us already.

#your turn to die #kimi ga shine

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epicstuckyficrecs · 5 years

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Post Endgame Fic Rec!

So at the time I’m making this post, I haven’t seen Endgame yet (but it’s out in certain parts of the world), but I imagine that what everybody will want after watching it is either 1) to pretend it never happened, or 2) some fluff (I tried to keep it to fics posted in the last year since I already did a fluff fic rec after IW). So here goes! Enjoy!

(* besides the ones I’ve read)

Infinity War fix-it

*still here by wearing_tearing (1,8K): Steve wipes the dust off his face.

*To Never Have Loved At All by hitlikehammers (3K): Steve will say they had work to do, and a universe to put to rights. They had people to find and hearts to unbreak. They had a mission. There was no time for any of them to mourn. Steve, as it turns out, says a lot of things that are mostly bullshit.

Beyond the Burn by eyres (7K): Steve saves the universe - but it takes him awhile to be okay again.

This is the Perfect Time to Panic by Brokenpitchpipe, emij1s (8K): Finding the infinity stones and restoring half the universe is the boring part. The fun part comes next.

*watch them rolling back by napricot (17K): Bucky was just here, he was right here. This can’t be all that’s left. Well, it’s not all that’s left, not quite. There, in the pile of ash that used to be Bucky Barnes, already drifting to scatter across the soil of Wakanda, to dissipate in the air, to be nothing but dust on Steve’s hands and in his gasping mouth and in his lungs—left there, in that ash and dirt, are his gun, and his left arm, gleaming dully in the sunshine.

Realignment by amethystkrystal (24K): After assembling their own Infinity Gauntlet, the Avengers defeated Thanos and brought back everyone who disappeared. But their victory came at a great cost: in order to take the Soul Stone, Steve had to sacrifice the Captain America mantle and all the super-soldier strength that came with it. Small and sickly again, Steve’s poor health soon reaches a breaking point and his last option is a difficult surgery only Shuri and her team can perform. But not all hurts can be fixed with medicine, and the real healing begins after the operation -- when Bucky asks Steve to stay in Wakanda with him.

*Endless War by Nonymos (27K): There is always something more to lose. (Which means all is not lost.)

At Times I Almost Dream by LadyC (29K): When Thanos snapped his fingers, he split the universe into two – one where half the population had been erased from existence, another where the other half had. As both sets of Avengers will learn, the divide between the worlds is thinner for those who share a particular type of connection…

*might never be normal again (but who cares) bynapricot (WIP, 3/4, 36K): All things considered, Steve thought he’d handled the whole Thanos killing half the universe thing and the ensuing bitter, desperate quest to defeat him pretty well. Sacrificing his super soldier serum to use one of the Infinity Stones wasn't a problem either, not when it meant getting back the half of the universe they'd lost, and especially not when it meant getting Bucky back. But retirement and finally confessing his feelings for Bucky? Those were proving to be more challenging.

Dismantle The Sun by hitlikehammers (WIP, 19/20, 56K): This is the way the world ends: with a bang, and a whimper, plus a snap. And yet—between realities and quantum vagaries and heartbreak and that foolish not-just-human penchant toward hope—even that wasn't the end of their stories. Not even close.

Fluff

*I [Heart] You by writeonclara (1,1K): “Steve’s been hit with a curse,” Natasha said. She said it calmly, so Bucky didn’t immediately go flying out of the apartment to tear apart the Tower in search of Steve. “Of course he has,” he said. He felt, abruptly, exhausted. “What is it?” “It might be easier just to show you.”

*Boeuf Mystère by galwednesday (1,2K): “Quick question,” Bucky said. Steve looked up, but didn’t stop moving passports and stacks of cash into a nondescript blue duffel, his mind busily ticking through logistics. He’d grab the glock taped behind the hidden drawer in the desk on their way out, and they could buy new clothes once they got across the border into neutral territory, so they didn’t need much else, apart from whatever Bucky wanted to bring. One duffle should be enough. “Yeah, honey?” “What the fuck.”

*Blank and Silent by Kellyscams (1,6K): Without any words on his wrist, Steve Rogers is sure he'll never find his soulmate. But fate might have some different plans for him.

*Check, Mate? by talkplaylove-art (talkplaylove), wearing_tearing (2K): A notification from Check, Mate? blinks back at him. Steve’s heart speeds up when he opens the app and then his face breaks into a blinding grin when sees what’s waiting for him. James likes him back.

*Just About Half-Past Ten by rohkeutta (2K): But as he reaches Madison Avenue, Stark Tower a mere block away, the skies open with a whoosh, and he barely manages to duck under the construction scaffolding perched over the sidewalk. Thunder rumbles overhead, and Bucky frantically checks every compartment of his bag for an umbrella he knows is there. It’s not. He does find some loose glitter, though, and a lipstick he wore for Pride and had thought he’d lost, plus a spare Metro Card he can’t remember buying. He also gets a crystal clear flashback of leaving the umbrella under his desk to dry yesterday morning, and never picking it up again.

*One for Fiction by thepinupchemist (6K): In the heart of a modern library, children's librarian Bucky Barnes meets his match in the form of the new barista: Steve Rogers. He doesn't think there's any way his crush could be requited -- but sometimes librarians don't know everything.

*A Little Sparkle by roe87 (7K): "What about that guy in accounting?" Natasha mused. "Billy, Buddy, or...?" "Bucky," Steve said, knowing who she meant. "Lip piercing, right?" "Yeah! He's cute." "Yeah," Steve agreed hesitantly, then added, "but I'm not ready for that."

*A World That Makes Such Wonderful Things by stevergrsno (noxlunate) (8K): In which Steve is a mermaid, Bucky's a werewolf, and as always, they fall for each other.

*Found: One Bicycle by gracie137 (8,7K): Bucky Barnes posted in Overheard at Middlebury College: Hello fellow students! Basically in my drunken stupor last night I came across a bicycle. Being rather intoxicated and far from home I decided the logical thing to do was ride it back. I can assure you all that both me and the bike survived this adventure and are in perfect condition!! I now however have no use for for said vehicle and have realised that someone is probably pretty upset about having lost it. Anyway, if you can correctly identify the bike’s make and colour, slide into my DMs and I promise to return it to you!! Thanks for the ride xoxo

*Kiss me and take off your clothes by steveandbucky (10K): Steve Rogers is dared to send a dick pic to a blog which critiques dick pics (run by none other than Bucky Barnes). Hilarity ensues.

*before we can breathe easy by belovedmuerto (22K): No one touches Steve. Bucky sets out to do something about that.

*Roll Out the Red Carpet by Lorien, Quarra, talkplaylove-art (talkplaylove) (29K): The premiere for Steve Rogers' newest Captain America movie was just around the corner, and Steve knew it was going to be a hit. The big downside was that he had to have a date. The last several times he'd brought someone to an event like this, things had ranged from unpleasant to disastrous. In a last ditch effort to get out of taking someone that might make his night hell, Steve went on Twitter and invited the Winter Soldier to be his plus one. The Soldier was an international fugitive, and currently wanted for a series of high profile attacks on corrupt businessmen. Since every person the Soldier attacked was involved in some truly vile criminal activity, the public loved him, despite his crimes. Inviting him to the premiere was the perfect cop out. There was no way he was ever going to show. Right?

*The Twilight Bark (And Other Things Bucky Has To Deal With On A Daily Basis) by spacebuck (36K): Steve Rogers: I couldn’t say no to this little guy, so I guess he’s coming home with me! The picture below it is an overexcited looking dog, barely older than six months, shoving its nose through the bars of a shelter gate. The tweet already has twenty thousand retweets, a few thousand more likes, and nearly three thousand comments. Bucky can’t help himself, leads in hand, and he leans a shoulder against the doorjamb and taps the comment field. bbarnes: if you’re ever in need of a walker I’d be happy to take the lil guy on, nyc based and rescues are my thing!

#stucky #stucky fic #stucky fanfic #stucky fanfiction #stucky fic rec

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quirkless-and-embarrassed · 4 years

Note

Regarding the character ask meme: I'd love to see your take on Tamaki!

HE IS ONE OF MY FAVES. As you can probably tell by my icon. I’m sorry this took me so long, but I couldn’t resist beginning the new season as I was working on this, aaand geeking out over the anime took up more time than I thought 😂

Answers under the cut because I could not resist including lots of images and because whoa this really got away from me. Spoilers for season 4 of the anime!

Favorite things about him:

tl;dr adorable+disaster+badass = instant KO

i. He’s never believed that the quirk makes the hero. Granted, it’s from his own insecurity that he believes that, but even when Mirio’s quirk was a liability, Amajiki looked up to him as a great hero. It’s especially refreshing to see because everyone else places so much emphasis on what their quirk can do.

ii. Also, his insecurity. Amajiki describes himself as a plain, boring person so terrified of failure that his brain goes blank when he even considers it. He’s not blush-y or stutter-y or those other tics associated with cutely shy characters—his face is kinda awkwardly inexpressive…he actually looks constipated when he attempts to address class 1-a during his debut…and I get a sense of stillness from him, like someone who freezes up instead of fidgeting. But he’s not fishing for encouragement. He’s likely to bluntly, unhappily shoot down any attempt to praise him because that makes the pressure even worse! No “thank you for believing in me, I’ll do my best,” no, “oh you’re too kind, that’s not true,” he’s like: “no, just…no. shit. what now? I’m not Mirio.”

iii. His relationship with Mirio. What he admires most about Mirio is how, when he goes down, Mirio always rises back up—like the sun—filled with warmth instead of with self-recrimination. He draws people in and fills them with energy. Amajiki painfully believes he isn’t capable of any of that, but he trusts Mirio, and Mirio tells him that there’s plenty of warmth to him even if Amajiki can’t sense it in himself, and even if Amajiki is filled by fear at the idea of failure, he, too, energizes Mirio when he faces his problems anyways. They talk, build each other up, and accept each others’ feelings. Amajiki still wants to be like Mirio (cue “imitation is the sincerest form of…”), but he’s learning that even though he’ll never be Mirio, he and Mirio are alike in the ways that matter most.

iv. it’s as gay as the day is long.

v. How steadfast he is. Given his anxiety, it’s not immediately obvious, but Amajiki’s doubts and insecurities center on his capabilities and self-worth—not on his principles or about what needs to be done. When he’s worried about something, he doesn’t even try to hide it, there’s something very forthright and grounded about the way he struggles to confront the current obstacle.

vi. He’s such a goofball when he’s alone with Mirio. Here he is pretending to sever his thumb. Look at that smile. And Mirio’s habit of pumping his arms when he’s excited is nearly as cute.

vii. His hero name is awesome. Suneater. Talk about names that represent your ideal self…

viii. Amajiki doesn’t win his battle against Overhaul’s thugs by discovering his confidence and whipping out a super move (which, incidentally, he attempts via flashback+miritama feels and it fails resoundingly). He wins with the power of friendship, but it’s not the typical Power of Friendship spiel.

He fights three side-characters whose names I never remember, so I call them the garbage trio: theft quirk guy (similar to how Amajiki “steals” the forms of what he eats), a guy who manifests crystals, and gluttony guy. Funnily enough, the three have terrible self-esteem issues! They’re fanatically loyal to Overhaul because he’s willing to use them as sacrificial pawns, and being a pawn is better than being rejected as garbage (which each has as his tragic past).

So the narrative presents Amajiki with two types of bonds. Will he identify with the trio’s loyalty to Overhaul, founded on their sense of worthlessness? Or will he identify with their loyalty to one another, founded on their empathy for each others’ tragic pasts? Essentially: what kind of relationship does he have with Mirio?

It’s not even a contest. Amajiki immediately and fully rejects the Overhaul-brand loyalty as brainwashing and focuses on the bond he understands, the “friends don’t eat friends” bond.

So Amajiki recognizes his opponents’ humanity when even they couldn’t. Even though they thought of themselves as nothing more than Overhaul’s tools, Amajiki intuited that the bonkers guy who shouts “eat! eat! eat!” wouldn’t bite his crystal friend when Amajiki used him as a shield. In doing this, Amajiki proved that their lives have more value to each other more than they ever will to Overhaul. He explicitly praises them for trusting each other—something they can take pride in because they forged it themselves—and ultimately removes their masks, symbolically freeing them from Overhaul’s ownership.

It was a cool idea because usually I see the protagonist summon up reserves of power he didn’t know he had in order to protect his comrades, but when Amajiki was inspired by remembering how Mirio believes in him, it doesn’t actually work because the garbage trio calls on their own bond to counter his power-up. Or usually it’s the antagonist who turns the protagonists’ love for each other against them, and here it was reversed. Except Amajiki used their friendship against them not out of contempt for their bond, “oh your love makes you so weak and predictable,” but out of respect for it, “love is what makes you strong, and I know that because it makes me strong, too.”

ix. His weird, pointy ears.

x. His dub voice acting: it’s stellar. Props to Aaron Dismuke, highly recommend watching his episodes in the dub.

Least favorite things about him:

His first name, Tamaki. It just never sticks in my mind—Amajiki is much more distinctive. (Apparently I have some sort of big three mental block, because I can rarely remember Mirio’s and Nejire’s last names, either.)

He didn’t really grow or learn anything from his fight against the garbage trio. He was already confident in his bond with Mirio, and the whole reason he volunteered to fight the trio was that he thought he could win, so it was basically a high-stakes training exercise in sticking to his guns. I think the purpose of the fight was to teach the audience that he and Mirio are a positive foil for bakudeku, providing another way Mirio is superior to Midoriya + amping Mirio up before his tragedy-slash-victory, so it’s a shame Amajiki’s most major scene wasn’t about himself.

I wish he had more screen time, I wish he had more development, I wish we got his reaction to Mirio losing his quirk, I wish had scenes with more characters than just Mirio, Kirishima, and Fat Gum, etc. The usual gripes about faves who are side characters.

Favorite lines:

Ch132 – I love how forthright he is lol. No attempt to put up a strong front.

Ch132 – When the thug Amajiki’s fighting shouts at him, his feelings are hurt 😂 also bonus for kiri trying to comfort him

Ch135 – cool as a cucumber

And two I won’t include the panels for…

His badass line in 141, “I might not understand your rage. Your grief. Everything that led you here…but I know all about solid bonds! And my friends don’t use each other! Because friends don’t eat friends.”

and when he collapses after beating the garbage trio:*THUD* Huh…why’s the floor so close to my face?doofus

BROTPs:

Kirishima!! His pep talks to Amajiki while they were on patrol were really cute. I can only imagine how he handles Kirishima and Tetsutetsu! He’s totally the third wheel, and normally he’s happy to be! But sometimes he watches the two hype each other up and gets depressed about it because he’s never that positive and encouraging. Sometimes Fat Gum leaves Amajiki in charge and it seriously stresses him out because Tetsutetsu occasionally charges off to do his own thing and it’s a whole ordeal to rein him in.

And oh shit, Nejire’s personality is just as cute as Amajiki’s, I’d love to see more of the two of them hanging out. (and just…more of Nejire in general, please. Her debut was so funny and then Horikoshi did nothing with her.)

In class-a, I’m curious to see how Amajiki and Yaoyorozu would get along. They’re both gifted students with confidence issues and quirks that depend on eating, so it would be nice to see them hit it off. I’d also be interested to see Amajiki and Bakugo interact, especially with Kirishima there.

Also, since Amajiki has such a preoccupation with exuberant, confident people, I’d love to see him somehow meet Inasa.

This isn’t a brotp, but I’ll bet Nighteye intimidated the shit out of Amajiki… Mirio told Amajiki endless anecdotes about Nighteye but it didn’t work, till the day he dies Amajiki will still get clammy any time he thinks of Nighteye’s glare or the purported tickle machine.

Again not a brotp, but I’d love to see Amajiki vs. Shigaraki. That sounds like an awesome fight. (…ideally before Shigaraki gets all OP and only Midoriya can beat him.)

OTP:

Mirio.

NOTP:

Nobody comes to mind.

Random headcanons:

Most of the food Amajiki eats goes into his quirk; he doesn’t properly extract its caloric and nutritional value, and if he’s not careful, he could accidentally become malnourished. (It also makes it difficult to put on muscle.) So he eats a ton, to make sure he has enough to fuel both his quirk and his body, and he’s self-conscious at how much more he eats than other people.

When Amajiki vomits, his quirk is weakened to the point it’s basically null. He has to take a break and chow down before he can use it again. …Re-ingesting the puke is…not an option.

Clothing is a big issue for his hero work. He could develop a really powerful fighting style, one that involves producing limbs from his back and torso, if he were willing to wear a little less…but that’s never going to happen. Mirio can run around naked, but Amajiki can’t!

I don’t know if this is a translation quirk or fanon or what, but I adore it when Nejire calls Amajiki “chicken-hearted” in fanfiction. It’s a short, cute joke about his quirk and I wholeheartedly hc it. I also think Amajiki is closer to Nejire than Mirio is.

Amajiki doesn’t deal with his self-esteem issues by minimizing his challenges. He doesn’t make cheap compromises like, “ok, I know I can do this because it’s so easy even someone like me can do it.” He goes for broke, for being the spectacular hero Suneater, because even if he can’t perceive his own positive qualities, he believes that they’re there.

One of the (many) reasons Amajiki admires Mirio is that Mirio admires him, and Amajiki wants to be able to like himself, too.

When it comes down to it, his self-worth is nowhere near as desperately poor as the garbage trio because he knows true friendship. Maybe if he’d never met Mirio, Amajiki would have been susceptible to their sort of devotion, but now he never will be because Mirio’s encouraged him to value himself. Amajiki won’t accept a bond that relies on degrading yourself—which is important to know, since Amajiki constantly compares himself to Mirio. But Amajiki’s sense of inferiority is chronic without being proportionately deep. He adopted the name Suneater to declare himself Mirio’s equal, and his climactic line of the garbage trio battle, “friends don’t eat friends,” is one that asserts equality and puts his quirky spin on it to show he’s made the principle his own. Amajiki may not like himself but he doesn’t let it get in the way of taking his place as Mirio’s peer.

Amajiki’s parents are also anxious people.

Mirio is his neighbor at the UA dorms. It’s perfect because Mirio can permeate their the shared wall and they can hang out after curfew. (Mirio keeps a pair of sweatpants in Amajiki’s room for those occasions lol.) Nejire is jealous and always talks about gate-crashing, but she never gets around to it. Even after Mirio loses his quirk, his sweatpants stay in Amajiki’s room because neither of them can quite bring themselves to give those times up.

I am a sucker for making characters’ quirks reflect something fundamental about their hearts, so here’s my take on manifest. Amajiki manifests what he eats, meaning he absorbs from his environment and re-creates it in his own style. It’s not imitation, since Amajiki with one cow hoof and one tentacle, kicking ass, resembles neither a cow or an octopus, but he takes the best from what’s around him and reinvents it. “Suneater”? Thanks to how his friendship with Mirio gave him a stable, nourishing environment, he’s absorbed his favorite of Mirio’s traits and manifests them in his own way, as his own strength, because as even name of his quirk implies—manifestation makes latent qualities visible.

Like Bakugo, Amajiki could have resented Mirio for his strengths; like the garbage trio, he could have let his failures convince him that he’s worthless; but Amajiki consistently makes the best of the cards he’s dealt, even though it involves plenty of doubt and self-flagellation that could lead him down a darker path…but don’t. He’s greater than his demons.

Unpopular opinion:

Amajiki’s shy, but…not that shy. He gets like stiffly shy.

Amajiki still has a ways to go before he’s ready to date Mirio. (Not sure what’s the popular opinion on this.)

I really wish class 1-a versus Mirio had been class 1-a versus Mirio and Amajiki. It would have been so cool to see what amazing teamwork they had and how their quirks were compatible.

Song I associate with him:

Titanium—absolutely. I like the versions by Sia, Boyce Avenue, and Kurt Schneider (I couldn’t choose). Circles by Veela reminds me of his spiraling anxiety. And, I can’t resist, so I’m adding Chasing the Sun by The Wanted on here.

Aaand my ship songs…Appreciated by Rixton, and All of Me by John Legend.

Favorite picture of him:

Ch141 – Ironclad certainty. I’m not even gonna apologize for the dimensions and the fact this is huge, just drink it in.

Ch132 – If this isn’t the cutest thing you’ve ever seen, I will never trust your judgment.

Ch152 – Unless it’s because this is the cutest.

Ch152 – When Mirio loses his quirk 💔

I’ve also answered these questions for Todoroki, Bakugo, Uraraka, Endeavor, Sir Nighteye, and Shinsou!

#amajiki #amajiki tamaki #miritama #bnha #shie hassaikai #bnha s4 spoilers #thanks for the ask!! this was a lot of fun even if it meant crying over the anime way too late at night #amamirio #nerd mumbling #text #ask meme #long post #asks #I had big feels okay?

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favescandis · 5 years

Photo

Mads Mikkelsen in AUGUSTMAN SG

Photos by Carlos Serraro. Words by Alexandra Pollard/Farhan Shah (June 2019)

article also found on augustman.com:

THE ENIGMATIC MADS MIKKELSEN IS HAVING A MOMENT THIS YEAR

“In many ways, it was the most physical thing I’ve ever done,” says Mads Mikkelsen of his film, Arctic, the gruelling tale of a man stranded in the snowy wilderness. “Ever.” It’s a big claim, especially coming from Mikkelsen. For one thing, the Danish actor had started out as a gymnast, then spent a decade as a dancer before quitting to study drama in 1996. He was already 31 at this point, but it didn’t take him long to make his mark – that same year, he appeared in the first of Nicolas Winding Refn’s acclaimed Pusher trilogy as a troubled heroin dealer, a role he reprised in 2004 to critical acclaim. In 2006, he broke out worldwide as eye-bleeding villain Le Chiffre in the Bond film Casino Royale. Later came The Hunt (2012) – a forthright and hauntingly nuanced portrait of a man falsely accused of child sexual abuse – and more mainstream fare, such as Marvel’s Doctor Strange, and Rogue One: A Star Wars Story.

And Arctic? It’s one of those sleeper hits that, much like a stone rolling down a steep snowy slope, has increasingly garnered acclaim from plaudits and audiences alike, long after its run in the cinema has ended. Much of this can be attributed to Mikkelsen, who is a riveting tour de force. It’s the type of film that sinks or swims based on the performance of one person. Mikkelsen hauls the film on his back and drags it along the ice to its very thrilling end. If anything, it very much resembles a certain A-List actor who goes by the moniker Leo and his performance in the harrowing The Revenant.

A Quiet Danish The 53-year-old has built a career on bringing gruff gravitas to smaller films, and a left-field sensibility – helped by his inscrutable face, all high cheekbones and distinctive pout – to mainstream ones. But today, he doesn’t want to talk about any of that. He is here to talk about Arctic. And only Arctic.

In fact, Mikkelsen won’t even roam into Arctic-adjacent territory. I mention a recent interview, in which he contested the idea that there’s a message about climate change wrapped up in the film’s stark survivalist narrative.

“That’s not what the film is about, that’s not the reason we made the film,” he says. “It’s a film about the difference between surviving and being alive. It’s a film about humanity.” Does he feel that in the current climate, both literally and politically speaking, people are increasingly seeing allegories that aren’t necessarily there? “I know exactly what you’re talking about, it’s The Guardian,” he says. “Of course that writer chose to make it what he wants, so I’m not making that mistake again. I’m talking about this film, and that’s it.”

So he doesn’t want to talk about anything else except the film? “No, because it always turns out to be the main message in the interview, and I’m not walking into that trap again.”

I can see why Mikkelsen is so cautious – that interview certainly contained some contentious quotes – though I find it hard to see how he was “trapped”. After all, surely nobody forced him to say: “Yeah, the climate is changing, but to what degree are we a part of it, and to what degree are we not and what to do about that is a big question. I mean the science is divided. Right now it seems like it’s not, but it is divided.” He went on to suggest that nuclear energy was a possible solution, “but nobody wants to have a talk about that”. When the interviewer brought up #MeToo, Mikkelsen said he was “reluctant to go there”, citing the response to a 2017 Matt Damon interview – in which he suggested that sexual misconduct allegations be treated on a “spectrum of behaviour” – as evidence that “this is not a healthy discussion any more”.

Does he feel he was misquoted? “Basically what I was trying to tell him is that when there is a conflict in the world, which there always is, and there is definitely now, the problem is the real lack of communication between the two sides. And it seems to be that nobody is really interested in having that conversation, and that communication. And that’s all I have to say about that subject.” I breeze past the mild irony in what he’s just said.

I had wanted to ask him his thoughts on the progress of diversity in Hollywood, given that he’s been involved in three major franchises – Bond, Star Wars and Marvel – all of which are having to confront historical deficiencies in that regard. “I have tons to say about that,” he says, “but not in this interview. I’m trying to sell a film that I’m immensely proud of, and I know that it will drown unless we just stick to the subject.”

Into The Wilderness Back to the film, then. Thankfully, it’s a very good one. Aside from the brief, startling appearance of a polar bear (“It was a so-called ‘semi-trained’ polar bear, and that little giveaway told us absolutely not to go anywhere near it”), Arctic is a two-hander. In fact, Mikkelsen’s Overgård spends the first third entirely alone. We observe him going through the motions of his daily ritual – catching fish, carving out “SOS” in huge letters in the snow, checking his radio transmitter for signs of life – though he seems to have given up hope of being found. “He’s just there, he’s existing,” says Mikkelsen. “He’s surviving, rather than being alive.”

In another interview, the Danish actor revealed that he walked for 12 to 13 hours every day for the film. “Just to get the amount of calories [for that] was impossible. So I just forgot to eat that much and got weaker and weaker from day one.” Much like how his character become more and more frail as the film progressed.

It was crucial to Mikkelsen that the movie not fall into the “flashback trap”. We learn very little about the protagonist, what his life was like before his helicopter crashed. “In the ’80s, we started doing flashbacks and then everyone fell in love with that,” says Mikkelsen. The way he sees it, almost every film these days uses that structure. Or, at least, has the lead character regaling another with the story of their past.

“It becomes a problem when we think it is a necessity, that we have to know that he has two blonde boys back home who are waiting for papa to come home. I mean, seriously, isn’t it heartbreaking enough? Do we really have to see these two kids crying back home? Can’t we just imagine how painful it is for everyone? I think that is the strength of this film, not to play the violins of emotions. And another thing, if we place him in a world that is very precise, it wouldn’t be me and you up there, it would be him, and we wanted it to be me and you in this situation. We wanted it to be a film about humanity and not a film about a specific person.”

If at first it is us and him, soon a third party enters the picture. When another helicopter crashes nearby, killing the pilot instantly, Overgård is given a reason to live. A young woman (María Thelma), the only other person in the helicopter, is badly injured but alive. Helping her survive becomes his only goal. “His humanity starts coming back to him,” says Mikkelsen. “He becomes, slowly, more and more alive.”

When Thelma turned up for her first day of filming, Mikkelsen was elated. “That was the happiest day on set when she came,” he said. “I had spent so much time alone at that point, I was going crazy. Having an actor to talk to and go through ideas with was just a gift from heaven. And obviously for the character himself, it was also the best day of his life. Even though what happened was a disaster, it was also a gigantic gift.”

An Atypical Arc I was a little worried, when we first meet the woman (we never properly learn her name), that the film was going to turn into a romance. “I had the exact same feeling reading the script,” chuckles Mikkelsen, newly convivial, clearly happy to be back on topic. “She appeared and I was like, ‘Uh oh, here we go!’ I was so pleased it didn’t happen. If they’d spent 10 years out there, maybe it would have gone a different way, but that’s not the situation here. It’s absolutely not the first thing on your mind when you’re in a situation like this one. So yes, I was as pleased as you.”

There are moments of intimacy between them, though. At one point, when Overgård is laying the unconscious woman out onto a makeshift bed in his helicopter, he holds on to her for a moment longer than is strictly necessary. “It’s one of my favourite moments in the film,” says Mikkelsen. “It just came out of that situation actually, I was trying to lay her down on that bed, and then I realised that he would… he’s been craving this intimacy, another human being hasn’t been here for so long, so he just did it. It’s so beautiful. Not until we released the film… there were a few people commenting on that moment, in this era, [suggesting] that that could have been mistaken, but we never thought about that. We just thought it was such a beautiful moment.”

It’s not just because he’s had his fingers burnt that Mikkelsen only wants to talk about this film. He is evidently chuffed with it – particularly how it conveys with only the sparsest of dialogue the very essence of humanity and our need for connection. “It takes two to tango, it takes two people to become human,” he says. “It’s very, very difficult to be a human being all by yourself. So that’s the story we wanted to tell. In many ways, she’s the one saving him.”

Arctic is not the only glacial title that Mikkelsen acted in this year. He was also the lead in the Netflix film Polar, which has nothing to do with ice in spite of its name. It’s a return to form for Mikkelsen, who had been somewhat in the shadows for the past two years. But in some respects, Mikkelsen has perhaps come to grips with the new world now. And is ready to demonstrate to the younger audience why he’s always been known as the actor’s actor.

by Farhan Shah

#Mads Mikkelsen #AUGUSTMAN SG #Magazines #The Arctic

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littlethingwithfeathers · 5 years

Text

Writing Update: 9/16/19

Tech week is behind me and now I’m back to writing again. Sorry to anyone who has tried to reach me or has tagged me over the last week. I’ve been buried in cue sheets and fight calls. :)

Publishing now!

Intercalation (HBO’s Chernobyl): A Valery/Boris/Ulana fix-it fic that picks up immediately after the final scene of the show. Ulana and Boris try to re-balance their lives after Valery is viciously ripped away from them, all the while facing reminder after reminder of the people they were before Chernobyl and the people they had become together while they were there.

Excerpt:

"Professor Legasov," Boris chewed pointedly on the choice of title, earning him another more lingering and quizzical look. He let the formal appellation hang in the air a moment as he stood and refilled both their glasses. "You talked about ionization of the air when you pointed out the glow we saw from the helicopter. But Bryukhanov claimed that it was the Cherenkov Effect causing that glow, which you say is erroneous information that came from Dyatlov. I know what neither of these things are, much less the difference between them, and clearly I should understand it because if I had, I too would have known the reactor was blown open on sight, even if I didn't recognize the graphite in the rubble. So." He paused for a drink. "What causes the Cherenkov Effect? What do you mean when you say the air is being ionized? And why is it one and not the other?"

Valery slowly turned to look at him, sipping at his vodka as he did so. He didn't smile exactly, but it appeared to Boris that he, perhaps, frowned a little less as he addressed him. “Comrade Deputy Chairman Shcherbina," he replied with his own puckish crispness. "That is three questions. Which would you like me to answer first?”

Boris tried not to look too pleased with himself as he topped off both their glasses and returned to the couch. Good. He was playing along. "I suppose whichever you think is best." He replied. "You're the expert here. Not me." His words had bite, but no teeth. Only an amused playfulness, barely veiled as he divested himself of his tie and rolled up the sleeves of his starched white shirt.

Valery lifted a shoulder, the motion barely visible under his baggy suit jacket. “I suppose the best place to start is why Dyatlov had it wrong.”

***

Other “Friendship is Unnecessary” fics at various stages:

But Most of All : Based off this post. The rough draft is finished, currently just under the 4k mark. Gonna let it sit a bit before editing. This is a short, upbeat, porny little one-shot of Nat being a shit and teasing Steve. Because honestly… this series needs some levity after what I’ve done in “Stolen Season.” Not sure of an ETA, but soon.

One of Those Things (Prologue): Since I’ve written this beast of a series completely out of order, and thus all my author notes are no doubt VERY confusing, I thought I’d put a short prologue on the front. Just a couple of short scenes to plant some seeds and give an actual starting place to this whole sprawling, intertwining mess, but also to give me a chance to address new readers so my forewords on the rest of the fics don’t seem weird. I’ve got a little more than a thousand words written on it which is probably about a third to half way.

Untitled Pre-War Steve/Bucky and Pre-Avengers Phil/Clint/Natasha: Partially a request from @crazyevildru that I’m toying with. Probably a flashback or a memory. This series really does need more Steve/Bucky, and I feel bad about it. I’m thinking of also adding a prequel/flashback of Clint/Phil/Natasha as well… maybe have the whole thing be a discussion over dinner post-Endgame. Pondering maybe making it over Christmas dinner and publishing during the holidays.

Sweet and Honorable (Title pending): Set post Civil War. Bucky insists on coming with Sam and Natasha to rescue Steve when he gets captured. This is starting to take shape in my head as a sort of work through for some of the issues that get raised in “Echo in my Soul.” Given what we know about the new Black Widow movie, I may hold off on this one for a bit. At least until I can figure out how I’m going to squirm around or ignore the added canon. (can’t wait for that movie BTW)

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Other works coming soon!

Hymn of Acxiom: Scarlet/Vision. It would be post Endgame, with Wanda helping a newly reconstructed Vision who has no memories and no personality without the Mind Stone to network all the pieces and facets of his personality. This is next on the docket after “Intercalation.” I’ve really only just gotten started. Sketching scenes and playing with theme. Don’t expect anything before November.

Untitled Sarge/Melinda May fic: I know. I KNOW! Don’t give me that look. You’re watching the same show I am and you’re seeing what I’m seeing. This shit writes itself. I’ve been sketching on a few things, and now that the season’s wrapped up I have an idea of what I want to do. I might crowbar in a few days just so that I can have some exploration time… sometime between (SPOILERS) May shooting Sarge and them heading for the Temple.

A Maelstrom Whirls Below: I’m toying with the possibility of a sequel to my Darcy/Eddie/Venom fic “A Room for Rent in the Fourth Estate.” A rough outline is in place, and I’m starting to sketch around on a few scenes. But right now it’s just some ideas and a few zippy one-liners. It’s starting to get some traction though! Likely won’t start work in earnest until after all this Chernobyl and Wanda/Vision stuff is done, but I’m definitely letting it percolate.

Hang By Every Word: The outline for my Stucky fic is still coming along but it will be awhile yet before I start writing on it in earnest. The basic theme (and I’m sure this has been done, but fuck it) is the undoing of Bucky’s conditioning one trigger word at a time. And each trigger word locked down a memory that HYDRA deemed integral to Bucky’s personality. And of course… they all involve Steve. So I have to write things from Steve’s point of view, and all ten memories have to be written from Bucky’s point of view, and they have to tie together into a cohesive narrative. The memories are out of order, but Steve’s timeline isn’t and… It’s a challenge. I’m still largely in the brainstorming phase… writing little snippets here and there. Nothing’s solidly taking form just yet. Again… just letting it percolate.

#writing #writing update

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