#so much more compelling and convincing than most comic runs imo | Explore Tumblr Posts and Blogs

bigskydreaming · 3 years

Note

IGN’s recent Bat-focused article (Batman: What Does Red Hood Need to Do to Get A Good Story?) praises fanfic writers and also is an amazing critique of how stagnant Jason has become under recent DC management and I’m so surprised at how good it is and how well thought out the solutions were

Hmmm. I just looked it up and I mean, I’m not trying to start anything but I both agree and disagree? Like, it makes some points for sure, I mean, its not like its saying things that I haven’t said a thousand times about Dick, like.....these characters need to be allowed access to a full range of emotions, both good and bad, in order to be fully fleshed out, so I mean yes on that premise alone I absolutely agree this is as true for Jason as it is for Dick or anyone else.

Tbh my only real criticism of the piece is it thinks Jason exists in a particular predicament the other characters aren’t in as well. And that I just don’t agree with, like they kinda lost me a bit with their first paragraph:

His complexities and moral ambiguity make him a compelling and distinct character among his more strait-laced Robin-brothers. Sadly, the character has seen little growth since his rage-filled reintroduction into comics. The ‘former Robin becomes a villain’ idea was enough for DC to coast on for a while but since rejoining the heroes, Red Hood has done little else.

First off, this may just be me being pedantic but I’m ALWAYS going to go fetch a grain of salt before continuing reading anything that pits Jason against his brothers in a war of his moral ambiguity against their strait-lacedness. Because to me, that’s just a fundamentally shallow view of the Batfam that caters to the idea that they each must have their own distinct niche in order to be fully viable individual characters, when a) no, and b) they don’t fit neatly into the niches people keep trying to slot them into and it never ends well for anybody.

Like Jason is morally ambiguous in a lot of ways too, yes, but umm, even if we assume that the writer is only speaking of Dick, Tim and Damian, we’re talking a guy who beat the Joker to death with his bare hands and has ten assassins and mercenaries on his speed dial and who co-led the Outsiders, a guy who was deeply immersed in weighing the pros and cons of getting revenge for his father by getting Captain Boomerang killed and is forever being DMed by Ra’s because he’s convinced he can get Tim to say He Has Some Points Actually, and the kid who was an assassin with a body count by age ten and who has struggled constantly ever since his debut to define his OWN personal view of morality that is not wholly predicated on what he was taught by any single individual.

And this is a big part of where I part ways with the article, because I think it falls into the same trap that a lot of people do by believing fanfic is inherently better by doing the same thing from just a different angle. Fanfic CAN be better than the canon, I absolutely believe that, I believe it is at times, but to do so, it has to like, BE BETTER. It has to do things differently, and not just paint a slightly different veneer over the same things. Like, pedantic though it might be, I outlined the above issue because its a mode of thinking the canon absolutely falls into again and again, and just like the writer of that article themselves, like....I think fandom as a whole is no different?

Like, yes there are great stories about Jason out there, some writers have done great and interesting things with him, but that doesn’t mean there’s not a huge trend in fandom of doing the exact same thing I see here.....which is honestly a huge part of the exact same problem the article is decrying canon for......LIMITING Jason (and all the Batfam) by reducing them and their stories to finite niches as a way of spotlighting them as different from their siblings.....except they’re not that different! And that’s okay! They don’t have to be! Families can have lots in common, families DO have lots in common due to like.....shared variables during their formative years.

I mean Jason was heavily influenced by environmental factors in how and where he grew up before he ever met Batman, but like the article goes into itself, he was no less influenced by Bruce himself as his father figure.....which is something he absolutely has in common with his siblings, thus its not hard at all to see how his siblings could have similar complexities and moral struggles that stem from trying to reconcile Bruce’s influence with the many other things and people that have influenced their childhoods.

And similarly, while the article is dead-on about Jason’s stagnancy....this is something that applies in equal measure to the rest of his family, because they’re all facing the same issues in terms of how DC views and utilizes them, and fandom as much as it likes to condemn DC for doing just that....frequently does the same thing. Like, Jason’s stuck in canon, absolutely......but Dick keeps being popped out into his own microcosm to experience a couple years of stories that essentially turn him into completely different characters isolated from every communal part of his character’s history, and then ERASE everything that’s happened at the end of each of these stories and reset him to square one.....and that’s just a different kind of stagnancy that again, still never allows for actual character progression or development. Tim has LITERALLY been regressed back to Robin, like a hard reset that’s its own kind of stagnancy and Damian has had years of character development upended just to kick him back to where he started, effectively strip away all the connections he’s developed at least in any meaningful way, etc.....and the same holds true for Babs and Cass and Steph and even Bruce himself IMO, in a lot of ways.

Its absolutely a problem, but its a problem that extends far beyond just Jason even if he is a great example of it. And its also a problem that extends into fic itself, and that’s why I don’t agree with a lot of the conclusions that article draws beyond just the fundamental “these characters need to be allowed access to a full range of emotions.”

Yes. That. That right there, THAT I think is crucial, but I think that writer needed to widen the scope a little to take in the full impact of what that actually MEANS for the characters....so as to not accidentally repeat the same problem they’re being critical of by essentially arguing for a full range of emotions for Jason....while still defining or viewing Jason through a finite lens of “the more morally ambiguous Bat character, at least as compared to his brothers.”

Because its that last part that’s so detrimental, because it seems like such a little thing at first, until you realize that essentially its just putting a ceiling, a cap on how far those full ranges of emotions can be expressed. Like the problem with Dick Grayson in canon and fanon is NOT that he can’t be written with a full range of emotions.....its that his character absolutely can encompass a wide range of opinions and viewpoints and emotional stances from “I don’t believe in killing as a first option” to “I absolutely can, will, and have beaten a damn clown to death for joking about murdering my brother”.....and he can still walk away as Dick Grayson after expressing both those things, because his character is big enough to include them both. HE’S not limited as a character, its canon writers and fandom writers that both heap artificial limitations of their OWN on him, say that his character is so defined in such a specific way that there’s no way for the latter expression of his character to actually be IN character.....and the fatal flaw here is fully fleshed out characters are never just one thing. They don’t fit in niches anymore than people do, and notice the problems we all run into when we try and pigeon hole people as being just one thing, like humans can’t be contradictory or act against their own self-interest or be hypocritical or evolve or even regress past prior viewpoints....basically, any time you try and sum up a human being in one line, no matter how accurate that description is, there’s still SOME things that are going to be left out of that picture.

Now, these things don’t always have to matter that much, like if I look at a serial killer and say that’s a serial killer, like, I might be leaving out of the picture that once he helped an old lady across the street and didn’t kill her and he doesn’t even know why, and I for one, simply do not care that I leave that out of the picture. Its irrelevant to the big picture for me. I can acknowledge that it adds a smidgen of nuance to that particular picture and then go yeah but also I don’t care, nuance denied.

But in terms of fictional characters, these things that get left in the discard pile when we try and sum up characters as just one thing, like, they can be hugely significant, because characters unlike real people, are simply WHAT WE MAKE OF THEM. That stuff that’s been left out of the big picture look at that character because its stuff most people to DEFINE what that character looks like have deemed irrelevant....its still there, and still perfectly relevant for anyone who wants to pick that stuff up and make something of it, use it to change the overall picture or even just point to ways and places that picture can absolutely encompass and include these other elements and STILL fundamentally be that same picture, that same character.

And this isn’t to say that characters can never be written out of character, its to say that usually IMO what ACTUALLY makes the difference between something being out of character and something just being an unexpected but still valid character choice is just.....how these things are executed. The latter is when writers make the effort to JUSTIFY their character choice, to sell audiences on why and how this is absolutely something this character would do, to take them on a journey of what led the character to making this choice and let them see how those steps actually line up, that’s an actual journey that character might take. The former is when writers just don’t bother and are just like, well here’s a thing that character did, and you know it was in character because well that’s the character and that’s what I wrote them doing lol, what more do you want. No. Yawn. Next.

But the trick is if you’re going to try and make a character a SPECTRUM of emotions and choices rather than just a same datapoint recurring over and over again endlessly, a literal sticking point that never advances, never progresses, never changes......you have to actually give that character free range to utilize that spectrum of emotions and choices.....not just confine them to accessing all those possibilities but ONLY within a narrowly defined niche that is its own kind of limitation.

A character can START from a logline, absolutely. Can BEGIN in a narrative niche as a way to INTRODUCE them as seemingly different from their surroundings or their peers when they do not yet have the backstory, the evidence of past stories and character choices readers can use to interpret their actions or guess their choices.....but narrative niches, IMO, are meant to have a shelf life, an expiration date. They’re a seed for characters to grow FROM, to grow PAST, not return to over and over again.....because that’s when a niche just becomes another house that stagnancy built.

Anyway, thanks for the thoughts and the article mention.....it was an interesting exploration of thoughts for me even if I didn’t ultimately agree with a lot of what was already said....still a worthwhile read though I think and I mean hey, its cool if you still agree with it more even if I don’t, lol. This is just my take.

14 notes · View notes

sol1056 · 6 years

Text

the dangers of dabblers

It’s important to remember VLD isn't being run by anyone who loved the original so much they were desperate to do a remake/reboot. This was completely top-down: someone at Dreamworks thought it’d make a popular franchise cornerstone, and of course they’d want to hire some or all of the team that made AtLA/LoK into a pop-culture juggernaut. (It’s worth noting that by S3 a lot of those names had moved on: several directors, and at least two writers.)

Somewhere there’s an interview with the EPs where they admitted they walked into their first DW meetings unable to remember who was the original main character. I think JDS thought it was Sven (Shiro), while LM was certain it was Keith. Or maybe vice-versa. Point is, I doubt either had thought of the series in years, and their vague recollection was sketchy, at best. (And apparently didn’t care enough to freaking google it, either, which says volumes.)

Which means that given it’s the EPs’ role to set the story’s outlines, we have two people aware enough of the original work to instinctively mix it up, just like fanfic would. But at the same time, they lack a strong-enough tie to the original work, which means they don’t feel obligated to slavishly mimic the original, either.

Sometimes that combination goes well. Sometimes, it doesn’t.

If you’re used to fanfic, you've seen this before: a new writer in the fandom, and you check their stats to find they’ve written fifty, a hundred, or more stories -- but never more than one or two, maybe up to five, in any one fandom. They write and move on -- and to them, your treasured fandom is just one in a long line. They’re not emotionally invested, and they see this as freedom to do whatever they want, without guilt.

Sometimes, a dabbler's stories will give readers a fresh view from a semi-outsider’s perspective. But those cases are successful, imo, because they still respect the fandom; the ones who don't inevitably end up writing interesting premises that devolve into frustrating disasters. The fault lies in their disinterest in playing with care in someone else’s sandbox -- and I don’t mean the original creators. I mean the fandom itself.

The first hint will usually be a certain amount of apathy towards the canonical main character(s). The writer will instead latch onto a secondary or a tertiary character, layering on head canons and tilting canonical events like a funhouse mirror. For readers at least passing familiar with canon, it can be cool to see it from new angles, if sometimes a little disconcerting.

This is fine, so long as the writer values their chosen replacement protagonist to the same degree they're convincing readers to do so. Without that loyalty, the dabbling writer will have no qualms tossing that character aside to turn their attention elsewhere. If, as a reader, you were willing to emotionally invest in this secondary or tertiary character getting the spotlight -- I’d be quite surprised if you’re all that happy when the writer bastardizes them for plot convenience, assuming they don’t get bored and abruptly drop that character completely.

Unfortunately, when a writer’s just passing through, there’s little point in complaining. They don’t get it. They don’t get the story, they don’t get the characters, and they’re not emotionally invested enough to even try. At best, they’ll be baffled. At worst, they’ll retaliate with outright disgust -- or even malice -- when readers cry foul.

(If you think it wasn’t textbook when the EPs complained bitterly about how the execs ‘made’ them put Shiro back in, then you haven’t been in fandom nearly as long as you think you have.)

For all the talk of nostalgia goggles, VLD as delivered displays minimal respect for -- and hardly any emotional investment in -- the original. Which, okay, fine: but neither do the EPs display any respect for -- or emotional investment in -- their own version of the story.

And that’s a major problem.

You can see it in how the EPs skipped the basics in character creation: hand-waving character ages, head-canoning their own original characters (seriously?), and failing to provide even simple backstories. Even beginner writers instinctively know the value of nailing down a character's base stats: age, height, weight, race, sexuality, family history. These details inform characterization, and I will never get over my astonishment that the EPs not only skipped this fundamental step, but that they'd be so dismissively nonchalant about having done so.

You can see it in how the EPs are utterly baffled by the popularity of the Keith/Lance ship. For that matter, you can see it in how the EPs sprinkled numerous Allura/Shiro hints in S1/S2, and seem completely ignorant of the effect. Just like with real people, when we're lukewarm about a character, we struggle to see why someone else would care, so we’ll miss major shipping potential. Add in what sounds like a real lack of genre savvy, no wonder the EPs had no clue they’d created some powerful fandom bait.

You can see it in how the EPs will freely torque characters or worldbuilding to push plot or manufacture conflict, even if that requires a character contradict what they’d said only minutes before. Or how the EPs drop character arcs, fail to create compelling stakes, and break internal consistency without even bothering to lampshade. You can see it in how the EPs never follow through on consequences; when you really give a damn about a character, you want those consequences because that heralds growth.

You can see it in how the EPs don’t seem bothered by making Allura beg for a lion, or lingering on her terror, or even just demoting her. Or the fact that they’ve kept racial dogwhistles in the dialogue. A hallmark of emotional investment is empathy with others who feel the same, and the EPs have evinced little empathy for viewers angry and upset over the way Allura’s been reduced to a magical plot device.

You can see it in how the EPs dismiss the #notmyshiro contingent; they’ve moved from surprise to mild irritation at questions about when the ‘real’ Shiro will come back. Or how they laugh about -- veering close to mocking -- viewers upset by the ‘clone’ issue. If the EPs had any loyalty to the Shiro they’d created, they would’ve known that reaction was coming.

You can see it in how the EPs shrug at marketing material with out-dated or non-canonical information. You can see it in how the EPs don't know or care that the comics ignore -- if not outright contradict -- the story's rules. They're supposed to be running this show, but they act like passive bystanders with no stake in the game. They don't just disavow any authority; they frequently even deny any knowledge. A writer is a gatekeeper of their own story, and the EPs have failed on multiple counts to gatekeep with any diligence.

Now, all that said: it's entirely possible that behind the scenes, none of this is true. It could be the EPs fight daily to have insight into marketing material, or that corporate politics has marginalized them in the creation process for vlogs, comics, toys, or whatever else. It could be that they lie awake at night, agonizing over where the story is going, and wanting to do right by the world they've created.

If this is true, they're utterly failing to communicate any of that. What we get in their interviews and public appearances are EPs who don't take their story seriously, aren't emotionally invested, and for the most part seem kinda surprised anyone else is.

And truth is, it’s damn hard to care about a story when even the creators don’t.

#voltron legendary defender #voltron meta #voltron critical #sol thinks about stuff

45 notes · View notes

anghraine · 7 years

Text

So, my sister wanted to watch ANH, and I’m a noble and selfless big sister (:P) and agreed. It’s been ... at least a year?

Impressions this time:

- ANH is really a magnificent film, just in terms of how everything comes together and how completely balanced the different elements are. It is what it is—a fancy Western-meets-Kurosawa fairy-tale space opera—and instead of trying to ~transcend~ its origins, it embraces them and goes for executing them at peak quality. Overwhelmingly it succeeds. I think that’s really its strength among the SW movies: it’s not the most ambitious, it’s not the most creative, it’s not the most inspiring, but it is the most cleanly, evenly executed, the one that succeeds most completely and unambiguously at the kind of thing it is.

- I definitely think the TFA=ANH thing is overblown. They’re very different movies with very different characters. The only exceptions are 1) the cantina and 2) the trench run. Speaking of which, the cantina scene remains spectacular. (And the trench run! My God.)

- Rogue One fits in REALLY WELL, while also feeling like an even more profoundly dissimilar film. But it really felt like it picked up right where RO left off. Like a lot of people, I was cackling at Leia’s sheer gall in her “???? HOW DARE” at Vader. Unfortunately, the near-seamlessness had me completely convinced that RO just happened and so I was like “wow, okay, Vader just took off after Leia and Jyn and Cassian just died WAIT WAIT ABORT MISSION DIDN’T HAPPEN BYYYYE”

- I thought the criticisms of RO!Tarkin were overblown (tbh I tended to think that a lot of them tended to forget how uncanny valley Tarkin is to begin with), and that’s also only more cemented. He seemed absolutely like the same person. I also don’t think I noticed before how ... bored? he seems with a lot of it. Like, Vader thinks the Death Star is shit but is gung-ho about Doing Empire Things and Victory!!! while Tarkin tends to be more “eh.” Gets a kick out of puppy-kicking Tuesday, though.

- I know it’s been litigated to hell and back, but the SE additions are in nearly all cases very jarring. (OTOH, going back and updating the terrible 70s computer graphics would have been a very feasible choice!) Similarly, I know it’s stale and everything, but the suggested backstory does seem very different from what we get in the prequels; I kept finding myself mentally working to make it fit.

- If it’s possible, I feel even more strongly than before about how wrongwrongwrong the soft, fluffy, sunshiny!Luke* thing is. Despite his streak of fatalism, he’s also almost invariably confident—sometimes to the point of braggadocio, but in most cases in fact correct. His goals are largely heroic, but he is far and away the most purely pragmatic of the main trio. He’s incredibly naive, but also resourceful; almost all the actual ideas for what to do come from him, and in most cases in a single moment. When Han snaps that “he’s the brains,” I don’t think he’s actually being sarcastic (though obviously he’s being annoyed). Luke is the idea guy, Han is the shooting things guy (which both find frustrating on occasion). Luke combines a streak of earnest gentleness with very frequent abrasiveness. He’s very much Leia’s brother.

(...on that level.)

- Han is incredibly brash and reckless! Sometimes hilariously so. I continue to love the scene where he runs from stormtroopers only to run into WAY MORE stormtroopers and just runs away screaming. He’s interesting because he’s not at all a comic relief character, but he does actually have a lot of it. I think it contributes to his lovability.

- Threepio and Artoo’s relationship remains the cutest, omg. And how did I forget Artoo’s built-in fire extinguisher??

- HELLO WALL-E

- LEIA LEIA LEIA LEIA

- There’s a gifset about how Leia is the only person unafraid of Vader, and I actually disagree. She quite plainly is afraid of him, IMO, quite naturally in the torture scene and then when she backs into him to get away from Tarkin. She just doesn’t let it govern her will or conduct even a little bit. <3

- I remain convinced that all probability is that Vader argued against the destruction of Alderaan, though not for any heroic reasons. I also remain creeped-out by Tarkin’s behaviour towards Leia accompanied by his genuine shock that she would lie to him. Vader is just “duh????”

- I’ve also noticed it before, but it never ceases to amuse me: when Luke and Leia scream at Han about shooting in the compactor, they sound exactly the same.

- Luke is the one who thinks to shoot out the cameras in the detention center.

- Obi-Wan’s lightsaber is the proper shade of blue, but Luke’s/Anakin’s has been left at greenish for some reason.

- ROBOT IS A CANON WORD

- I also think criticisms of the Obi-Wan/Vader duel are overblown. It’s a very different style, which seems odd, but ... looks like pretty normal fencing to me? A bit slower than Vader vs Luke in ESB, but that’s what you’d expect. I definitely got the feeling that Vader was drawing it out for maximum enjoyment, lol, but could have ended it at any moment.

- I love Threepio, but I find Chewie super irritating, sorry.

- Leia and Luke are so pretty!!!!

- Han’s snark about “female advice” remains as “well, fuck you, Han” as ever. I’m also not a huge fan of him going on about how he doesn’t care about the revolution or about her, considering that he knows perfectly well that she just saw her planet wiped out. How Jyn trying to survive is worse than this is just ?????

- Nevertheless, ANH Han is by and large my favourite Han. He’s genuinely charming, while his pseudo-devil-may-care is just ... aww, here’s your YOU TRIED star. Setting the implied incest aside, the back-and-forth with Luke about Leia is super cute. I also love the “no reward is worth this,” haha, along with “either I’m going to kill her or I’m starting to like her.”

- If I didn’t know better, I would definitely have thought Harrison and Carrie’s affair was during ESB, not ANH. The UST seems much less intense here (definitely present, but in a more lowkey, adorkable sort of way).

- Luke and Leia both seem to feel this irrational, near-immediate bond. They tend to pair off and Leia flips out when he’s pulled underwater as much as Luke did when he realized she was scheduled for execution. Luke tends to back her when she’s pissed at Han or ignore it altogether. I also think it’s kind of ... sweet isn’t the word, exactly, but when Luke gives Leia the blaster to cover him while he gets his swinging cord out, he doesn’t seem to have the slightest doubt about her capabilities. And she doesn’t seem to doubt that he’ll be able to carry her with one arm across the BOTTOMLESS PIT OF DOOM.

- That’s also there in the celebration scene; with Han there’s the UST with his wink + her I’M PUTTING ON MY PRINCESS FACE NOW, while with Luke he grins at her and she grins back, like they’re kids together. (Also, I think, a reason the twin retcon—while certainly awkward at points—works more than not. It's much more about this easy natural camaraderie they have than anything else. They’re bros before they were bros!)

- Leia actually isn’t certain if the plans will show a weakness or not, which suggests 1) she wasn’t told Jyn’s full testimony, or 2) she’s not at all sure about it either.

- People generally seem to treat the Imperial Senate as a legit concern—not just Leia, but many of the Imperial officers, and Vader himself takes care to create a smokescreen to keep them from realizing what happened to Leia. The OT is not much for politics, but I suspect the abrupt dissolution of the Senate might have contributed to the expanded Rebellion of ESB and ROTJ.

- Even here, though, the Rebellion does seem very well-funded, and Han’s reward appears to be no problem at all. Also, everyone rides around on little carts.

- Luke totally knew Obi-Wan already and I am personally very doubtful that it took just a few hours or a day to get to Alderaan. Think: Leia supposedly caves about the Dantooine base right before Alderaan’s destruction (i.e., after Han&Co go into hyperspace). The Empire sends a contingent to Dantooine from Alderaan, who find and search the abandoned base, and send a report back. I definitely don’t think that’s something that in its entirety would be handled in a day.

(I always get a sense with the OT—and RO—that we’re seeing snapshots of a wider story, with plenty going on in the empty spaces that’s just not critical, or which can be inferred from what we do see. Luke’s bit with the remote is clearly not his only interaction with Obi-Wan on the trip, say; it’s just a representative bit we see that coincides with the destruction of Alderaan. I think it’s part of the reason it’s compelling in a very fannish way, even though I have very very few issues with the series as-is; normally I get really fannish about things that are super compelling but have a lot of issues I feel the need to address. SW, though, manages to provide those spaces where I want to fill in the blanks, but as a form of storytelling rather than faultlines.)

- Aww, it’s for little children! also have you noticed that one of the charred skeletons at the homestead is contorted weirdly

- I love Carrie’s low voice

- the development of Artoo and Threepio’s relationship is not something I’ve really noticed before, but I was genuinely touched this time? They’re friends, clearly, but they start out at this snappish, intolerant place and Threepio gets increasingly more and more concerned and less selfish. He manages to look devastated when Luke shouts that Artoo is down and then when he offers his own gears and circuits for Artoo, it’s just... awwwww. (Also when they ask Luke if he wants a less beat-up droid and he’s NO WE’VE BONDED. Luke <3 <3)

- Alec Guinness, whatever his private feelings, does a really great job with Obi-Wan as this shrewd, tricky mentor with a deep sense of ambivalence. I think it’s part of the reason the retcon works so well; his behaviour seems entirely credible as someone who’s lying. I also think his :| at Han is pretty hilarious? He’s just seriously?? so much of the time.

- The whole deal with the parsecs was obviously meant to be stupid bragging from Han. There’s no need for an explanation; Obi-Wan and Luke’s faces are both like “...sure, bro.”

- Even the damn summary of the title crawl on the back was like T_T

The Jedi Knights have been exterminated and the Empire rules the galaxy with an iron fist. A small group of Rebels have dared to fight back by stealing the secret plans to the Empire’s mightiest weapon, the Death Star battle station. The Emperor’s most trusted servant, Darth Vader, must find the plans and locate the hidden Rebel base. [etc]

*sob*

But, just incidentally, there is never the slightest indication given that the team of spies didn’t actually make it out of their mission or that there’s any particular tragedy around the first!!!! victory!!!!!!! They’re never explicitly pointed out, but there also isn’t any occasion for doing so; we don’t see anyone outside the purely military arm. No senators beyond Leia (who’s only there to bring the plans, and had originally intended to go to Alderaan anyway), no Mon Mothma, no operatives of any kind beyond soldiers, pilots, and commanders. It looks like they evacuated everyone else, so even if the Scarif mission had gone precisely according to plan and like 75% of them made it out, there’s no reason for them to show up in ANH anyway. But yeah, basically all we know is that the team that recovered the plans was a small and brave one affiliated with the Rebellion.

*feel free not to remind me that the sun is powerful and dangerous. this is a metaphor

#anghraine babbles #anghraine rants #/#//#///#////#/////#star wars #luke skywalker #han solo #leia skywalker organa #threepio #artoo #anakin skywalker #governor tarkin #obi wan kenobi #the skywalker twins

62 notes · View notes

some-flyleaves · 7 years

Text

for “no particular reason” some thoughts on stuff I’ve watched/read lately

spoilers ahead but most of these have been out for a while by now

Beauty and the Beast remake

overall entertaining and well-animated, though I still prefer the original

some of the story tweaks were neat and I especially liked the subplot about the cursed servants becoming less sentient(?) as time went on

others were kinda unnecessary imo, the whole opening scene being a glaring example. also giving the Enchantress a bigger role is neat in theory but kinda definitely raises a few Questions

not fond of the autotuned lead singer which is even more obvious comparing soundtracks

the furniture designs cannot grow on me They Simply Can Not, you can’t get nearly as many lines of action or squash & stretch out of a hyperrealistic CGI teapot

on that note the original’s beast design is still the best design, shout-out to my family for calling the live-action prince a “surfer dude”

at the end of the day idk what to make of the LeFou Discourse(TM) but shout-out to the little bit where Potts was like “you’re too good for him [Gaston]” and all things considered I thought it was a biiit more than what those cynical meme posts suggest. mind I’m not sure what I would’ve thought if I didn’t know about the whole shebang beforehand

it was apparently enough to get the film banned in a few countries, which doesn’t equal Instant Representation Pinnacle obviously but ehhhh that’s another topic for another time

Maleficent is still the best live-action “remake” of the films disney’s been churning out lately imo my onion, but I can’t say any of them have really disappointed me? (unless the first Alice counts; all I remember is that it was weird, which I guess is a given considering the source material but idk live action loses so much charm. definitely haven’t watched the second and have no interest in thereof)

anyway Mulan is one of my favorites so fingers crossed...!

Moana

very predictable but heck if that oscar bait song hasn’t been intermittently stuck in my head since

big earworm shout-outs to “You’re Welcome” and “Shiny” too but this website has ruined the latter sequence to an extent because I’m half convinced someone in production there has a vore fetish

in any case that was way too good a villain song for a one-scene show-stealer wtf the fuck

Moana’s voice & overall expressiveness fuels my soul

also it was GORGEOUS, more than compensates for another ~coming of age~ plot with fantastic colors

I have a lot of questions about the sentience of the ocean

what do you mean the Obligatory Animal Companion was a chicken and not the pig

okay ngl I didn’t quite catch the angry volcano spirit woman also being the green lady? I don’t think...? aw heck it’s been a little while by now but the ending was neat

how fucking old is Maui

Universal Harvester by John Darnielle - if you recognize that name it’s because, as I found out after reading, he’s the guy who leads the band responsible for a song I had on repeat hell for at least a couple months after discovering it via this wonderful, wonderful "lyric.. comic... thing” </ungodly run-on>

if this seems completely out of nowhere it’s because it is. I’ve jacketed and shelved a lot of new books, and while a good handful catch my interest, few compel me to check it out before heading home for the day

off the top of my head the other most recent book this happened with was No One Else Can Have You by Kathleen Hale (heads up for a non-graphic image of hanging on the cover), which was... oh holy shit that was over three years ago I don’t read often enough nowadays x_x

that one started strong but, around if not at the point where the protag was making out with the secondary dude, took a sharp turn towards the cliche & general What Is This Fuckery. but I digress

seriously no image on the internet can do this cover justice, the vaguely vaporwave-lookin part is actually very dark and the whole thing shines like one of those rain puddles mixed with.. gasoline? oil?? whatever makes it rainbow-y at a certain angle

I only skimmed the inside flap description before diving right in the night I took it out, and I realized a good chapter or two in that I’d unintentionally picked up a horror novel.

well. kinda? horror-ish?? despite there being no killer on the loose, no supernatural monster on the prowl, not even an invasion of alien farmers federally paid to invade your small town, basically no imminent looming dagger above the protagonist’s head, it’s VERY unsettling for the most part and I gotta give it major kudos for that

<SPOILER class=“mild”>also huge shout-out to the subtle switch to first-person at a key moment, then scattered throughout from there on.</SPOILER> it was at that point I had to reread the description to see what I’d actually gotten myself into and decided I was gonna read this sucker in one sitting or I wouldn’t be able to sleep

(skip this bullet point if you don’t like vague ending spoilers) despite that it manages to leave off on a somber, even sentimental note. pretty darn satisfying, though upon further thought there are a few big questions left unanswered that probably should’ve been addressed. (/vague end spoilers)

overall I’d recommend it if you’re looking for an interesting little read that might send a few chills from atmosphere alone but also makes you think*. just don’t start reading expecting a chapter or two before bed will do help you fall asleep.

*yeah yeah I know “makes you think” is something of a meme phrase at this point, but screw it I like my media when it actually engages the viewer/reader for more satisfying payoff. I’m not a fan of the “lol intellectualis” thing anyway V: but I digress.

Kubo and the Two Strings

ftr the record I called Beetle being the dad from his debut

my god Laika really likes their bugs and creepy hands (based on this and Coraline at least, I’ve seen ParaNorman but don’t remember much). this is absolutely a compliment.

voice acting didn’t thrill me, with the exceptions of the old lady & spirit sisters, but got dang those facial expressions

magic worldbuilding left a lot to be desired but it took place in fantasy China(/Japan? as with The Last Airbender I think we’re looking at another fictional Asian blend) and I for one am a sucker for that so I can let it slide

climactic fight felt kinda shoehorned, when the moon spirit dude showed up looking like a nice old man I almost thought they were gonna go for a less confrontational ending sequence - which I guess it kinda did but also the obligatory “join me and we can rule forever” stuff came up. I dunno I liked the spirit fish form ¯\_(ツ)_/¯

don’t get me wrong here I did enjoy it, I guess I was just expecting a lot more from all the talk about kids being able to handle mature themes and whatnot? ah well the conflict wasn’t quite Good Versus Evil so that was neat

was the moon spirit just a regular old dude all along though? is the moon going to rise again even with him hanging out among mortals? is he mortal now?? how does the Plot Amnesia work???? can someone tell him who he really was even if it’s not flattering??????

idk for some reason I feel like I’m being harsher here than anything else so far, really did enjoy it though. LOVED the 2d animation in the credits and I absolutely must emphasize how fucking awesome the animation is, being primarily stop-motion and all. they set a very high standard with Coraline and cartwheeled over it with Kubo holy hell

also I have a new desktop background

Wings of Fire Book 1: The Dragonet Prophecy - Iiiii actually haven’t finished reading this one just yet, saving the last part for when I finish at least one mcfucking assignment, but here goes nothin:

if you take a shot for every blatant violation of Show Don’t Tell you’ll be dead three chapters in, not sure if that’s because this is a middle-grade book or what

that said I find the plot & its overall direction intriguing enough to continue and, much as I may internally groan at the repetitive characterization and disney villain dialogue, I thought it was worthwhile and already have the next book checked out ;V

what can I say there are dragons there’s a war and it’s a very interesting take on the whole “because you are the Chosen Ones we will raise you here for hero training” deal

there’s also some intriguing worldbuilding with regards to the “scavengers” and “the Scorching,” not sure how much those are covered in this book but a friend who recommended the series in the first place says it’s some kind of post-apocalyptic thing?? nice.

not really related but shout-out to that one commenter in Script Frenzy who told me it was jarring or weird or something to have my dragon protags straight-up eat a few human researchers. I mean they weren’t wrong and it’s not like the WoF good guys have eaten any people (onscreen, at least) but still. I don’t read dragon stories for the humans >:T

in any case, sorta wondering if that one surviving scavenger will come back in any way later...? chekov’s human.

but seriously we don’t need to be beaten over the head with exactly why each dramatic plot twist is indeed dramatic, I could practically hear the manufactured gasps

despite that there are also descriptive passages of fun events like characters getting their necks snapped or screaming in agony as poison seeps through their scales! and we've barely scraped the surface of the Horrors of War!! >:Dc

conclusion of sorts for this disorganized mishmash of bullet points: why yes I am one of those unrelatable fucks who doesn’t buy the whole “I will defend a shitty shebang of a plot if the characters connect” thing how are you. what can I say, even if I don’t have any particular fandoms right now, I still have Thoughts On Media and no one can stop me from throwing a good ~90 minutes into typing ‘em up despite having other responsibilities ;’V

tune in next time for... well honestly I dunno if this is gonna become a regular thing, but whatever thanks for readin feel free to like reply and follow and see you next time on a-flyleaf dot tungler dot corn~

#''no particular reason'' by which I mean Procrastination Supreme #.rtf #*watches this get longer than my current essay in progress* swell!

3 notes · View notes