#so spoilers for the hobbit in bound

[seagull-energy]

BUCKLE UP, FOLKS, IT'S TIME FOR SOME BIG THOUGHTS ABOUT SEPTEMBER 29THS NEWSLETTER ENTRY! (this took so long omg, I got very busy) VERY long post incoming.

First of all, the entire barrow scene is INCREDIBLY creepy, but I want to highlight this bit in particular:

'What in the name of wonder?' began Merry, feeling the golden circlet that had slipped over one eye. Then he stopped, and a shadow came over his face, and he closed his eyes. 'Of course, I remember!' he said. 'The men of Carn Dûm came on us at night, and we were worsted. Ah! the spear in my heart!' He clutched at his breast. 'No! No!' he said, opening his eyes. 'What am I saying? I have been dreaming. Where did you get to, Frodo?'

Hey, what's happening here??? Is Merry being possessed by the unhoused spirit of a man of Arnor?? This is another one of those things that is just dropped in, never explained, and then moved past and it's REALLY SCARY.

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Then, does this line remind anyone else of Macbeth? Specifically the scene where he sees the line of Banquo's descendants. Like, compare these two texts:

The hobbits did not understand his words, but as he spoke they had a vision as it were of a great expanse of years behind them, like a vast shadowy plain over which there strode shapes of Men, tall and grim with bright swords, and last came one with a star on his brow.

A show of eight kings, the eighth king with a glass in his hand, and Banquo last. MACBETH  Thou art too like the spirit of Banquo. Down! Thy crown does sear mine eyeballs. And thy hair, Thou other gold-bound brow, is like the first. A third is like the former. [...] A fourth? Start, eyes! What, will the line stretch out to th’ crack of doom? Another yet? A seventh? I’ll see no more. And yet the eighth appears who bears a glass Which shows me many more, and some I see That twofold balls and treble scepters carry.

Obviously it's not a one-to-one comparison, but the Vibes are similar. (The use of the phrase 'crack of doom' in the Macbeth passage is also interesting, although I think that's probably a coincidence rather than anything else) LotR obviously has other well-known Macbeth connections, but this is one I only just noticed. (I really hope this comes off as similar to someone else and I'm not just coming up with nonsense)

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As soon as his back was turned, a dark figure climbed quickly in over the gate and melted into the shadows of the village street.

I LOVE THIS MOMENT because reading it for the first time, anyone's first assumption is that this is going to be a Black Rider, but (spoilers) IT'S NOT! What a brilliant little subversion!

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Frodo, Pippin, and Sam decided to join the company. Merry said it would be too stuffy. 'I shall sit here quietly by the fire for a bit, and perhaps go out later for a sniff of the air. Mind your Ps and Qs, and don't forget that you are supposed to be escaping in secret, and are still on the high-road and not very far from the Shire!'

If only they'd listened to Merry... I feel like Merry's practicality and good sense gets overlooked a lot. In these early chapters his status as 'most well traveled of the group' really comes across

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Suddenly Frodo noticed that a strange-looking weather-beaten man, sitting in the shadows near the wall, was also listening intently to the hobbit-talk. He had a tall tankard in front of him, and was smoking a long-stemmed pipe curiously carved. His legs were stretched out before him, showing high boots of supple leather that fitted him well, but had seen much wear and were now caked with mud. A travel-stained cloak of heavy dark-green cloth was drawn close about him, and in spite of the heat of the room he wore a hood that overshadowed his face; but the gleam of his eyes could be seen as he watched the hobbits.

Words cannot express how much I love this description (and Strider's introduction as a whole)

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There is an inn, a merry old inn beneath an old grey hill, And there they brew a beer so brown That the Man in the Moon himself came down one night to drink his fill. [...]

*The Cat and the Moon from the LotR musical starts blasting in my head*

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And now... the Aragorn list... (my thoughts are in list format because otherwise I will just be pasting large chunks of the entry here, and I've already done enough of that)

what was he doing behind the hedge on the Road???

"I slipped over the gate just behind them." and there's the payoff to that spooky moment earlier!!! It goes from 'oooh a Black Rider might have followed them' to 'nope, it was actually just this dude who wants to help them' to 'OH SHIT THE BLACK RIDERS WERE ALREADY HERE' a little later. Good stuff :D

"a secret that concerned me and my friends" I'm curious which friends he means here. Probably the Dunedain, maybe the sons of Elrond as well? Anyway, it's a fun little note

Okay now I need to break the list format because WE NEED TO TALK ABOUT ARAGORN'S RELATIONSHIP WITH THE RIDERS

'[...] They will come on you in the wild, in some dark place where there is no help. Do you wish them to find you? They are terrible!' The hobbits looked at him, and saw with surprise that his face was drawn as if with pain, and his hands clenched the arms of his chair. The room was very quiet and still, and the light seemed to have grown dim. For a while he sat with unseeing eyes as if walking in distant memory or listening to sounds in the Night far away.

So uh, Aragorn doesn't just know OF the Riders, he knows the Riders. He's obviously speaking from experience here, and iirc this is never expanded upon. What happened between them? And when did it happen?

'[...]I am afraid my only answer to you, Sam Gamgee, is this. If I had killed the real Strider, I could kill you. And I should have killed you already without so much talk. If I was after the Ring, I could have it – NOW!'   He stood up, and seemed suddenly to grow taller. In his eyes gleamed a light, keen and commanding. Throwing back his cloak, he laid his hand on the hilt of a sword that had hung concealed by his side. They did not dare to move. Sam sat wide-mouthed staring at him dumbly.   'But I am the real Strider, fortunately,' he said, looking down at them with his face softened by a sudden smile. 'I am Aragorn son of Arathorn; and if by life or death I can save you, I will.'

Chills. I love him. So much. Also, SURPRISE! It's art time!!

[ID: A digital drawing of Aragorn from Lord of the Rings. He has pale skin and shoulder length dark brown hair. He is wearing a brown quilted vest, brown trousers, a cream shirt with puffy sleeves, and a dark green cloak. He is looking slightly down and to his left (image right). His left hand is resting on his chest and his right hand is resting on a sword belted at his waist. The drawing has dark, blue-gray lighting and the background is a rough blue-gray rectangle. /end id]

Andddd now for one more thought: there is no mention of him having a second sword, which implies that his ONLY WEAPON in these DANGEROUS TIMES is just the shards of Narsil. Unhinged behavior, I love that for him

Moving on from Aragorn now! (although I will have many more things to say about him later)

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'[the Black Rider] seemed to make off up the Road, eastward,' continued Merry. 'I tried to follow. Of course, it vanished almost at once; but I went round the corner and on as far as the last house on the Road.'

MERRY. WTF. Okay so this is 1) extremely brave and 2) not actually a terrible idea in theory. Trying to find out where the Rider was going and what it was doing would be smart, IF IT WASN'T ONE OF THE ENEMY'S MOST DANGEROUS SERVANTS THAT SHOULD BE AVOIDED AT ALL COSTS

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[Merry said] "I could hardly help myself. I seemed to be drawn somehow."

FORESHADOWING????? Actually looking at both this and the thing with the wights that I talked about at the beginning of this ramble, merry actually has a pretty strong link with the wraiths from the beginning, which is INTERESTING!

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Okay I think that's everything I wanted to say. I'm so sad this took me so long to write because now there's been a whole WEEK of entries that I haven't talked about or done art for :((( Weathertop at least will probably get some love at some point, but rn my art brain is telling me to draw the entire cast of the musical so we'll see how I balance things :)

#lotr #lotr newsletter #seagull.thoughts #seagull.art

[antheiantics]

ENTJ Behaviours - Everyday things the Internet analysis don't tell you about - weirdly specific edition

Loud loud laugh. The type of laugh to make you go under the table. Happens roughly 2-3 times a day.

Shouting for no apparent reason.

Zoomies, yes, zoomies around the house.

Zoomies in talking - The point is to get it out fast and furious and go on with the day. Spoiler alert: 80% of the time I have to repeat myself, because people didn't understand my point delivered in Eminem speed. I'm fine, we're fine, it's fine.

Constantly forgetting people don't have the ability to understand with just one, maximum three words. Exception: INTX

Hating to be late and arriving early. Completing several tasks while waiting.

Having absolutely no tolerance on people who are late. Holding a grudge about it. Waiting for the day to just leave so the other person learns from it.

Abrupt style changes that shock people - going from casual business to grunge fairycore, not realising that people get confused with the vibe.

ENTJ procrastination is a thing - it's just procrastinating by doing other smaller tasks instead of doing the big looming one.

Being confident all the time except in a specific moment in which it's required to.

Ordering food at McDonald's because your extroverted friends were "too shy" to.

Waiting for those same friends to say "hi" to the entire planet while you try to look confident, pretty and approachable.

Being invited in the conversation in the span of one minute and hitting it off for the next 10 minutes.

Walking fast.

The boulevard is the runway and y'all are just peasants interrupting the strut.

Making detailed plans about being a successful company owner in 10 years, but forgetting to take in the sheets the next day. Short-term goals - a strong point, if forced. Day to day to-do list - not a strong point at all, unless written down (most of the time confident enough to remember our own tasks) (most of the time we forget to do several of them, or postpone them to shove three more that we planned to do after two weeks, but oh well, an opportunity arose - extremely specific, might not apply)

Patience. Monstruos amounts of it. Miranda Priestly was just fed up after so many years in the industry and I can see why.

Pet peeves are inefficiency and people who repeat the same mistake over three times, after it was explained to them by multiple people.

Strong opinions. Controversy. How are y'all dealing with Cruella (Emma Stone) and Elizabeth Bennett (Pride and Prejudice) mix, type of person? Genuinely curious. Not asking for a friend.

As for the ENTJ men reading this - do you have like a list or diagram, with all the people that manage to keep up with your Stewie Griffin (South Park) , Kaz Brekker (Six of Crows) tendency to "invest" and Thranduil(The Hobbit/LOTR) type of beauty and pride, and how long is it? Again, genuinely curious.

Wrote the origins of criticism and invented self-criticism in the process, because emotional liability got invented roughly around the same time and apparently it was "too much" *side glances INFPs*

Crying only out of helplessness (not if you can help it, ofc) and anger.

Fan of stupid puns (extremely evident)

Might unintentionally ghost people or leave them on seen, because they messaged you while your brains were working overtime (happens too often)

Caffeine doesn't work, but it's a ritual of pleasure, not to be missed, unless the day is bound to finish in prison. Same could be said if you take tea instead of coffee.

Relaxing by watching documentaries about successful people.

De-stressing by drinking wine with that one close friend that you see once a month due to busy schedules and talking about life.

That close friend also happens to be the closest one to IxxJ type and thoroughly listens while we explain the nature of emotions and why we think that the normal emotion we felt is a terminal illness.

Flirting is a way of surviving not a way of life. Take it as you wish.

Inspecting and dissecting your crushes so you know what you're dealing with. Most of the time we "un-crush" them with a snap of our fingers.

Sometimes we "just go with it" and end in a semi-casual situationship.

When they tell you we are confident and undisturbed by flirting, they're probably lying or not competent enough about speaking on real (not psychology explained) life. We do. It's just not obvious. INTJs, INTPs and ENFJs might not agree, because they somehow just know.

Getting hurt over minimal details people mentions about us throughout a conversation but being unaffected by "the big ones".

Which is hilarious because we're major "big picture" people - details are the things we see last. Sometimes, we don't even bother to inspect them.

ENTJ: Ah, ah, okay, bye-

Other people: No, wait! There's-

ENTJ: I pretty much got it, bye-

P.S. "Pretty much go it." or "I'm gonna wing it.", but make it organised, are probably catch phrases by now. No matter what people tell you that's a major trait of XXXJ people.

When I told you we invented criticism, I forgot to mention we also helped ESTJ and INTJ invent sarcasm.

#mbti #entj #mbti personality types #intp #intj #mbti conversations #mbti things #16 personalities #entp #dark academia #entj thoughts #entj post #entj things #psychology #mbti shit #mbti scenarios #i was bored #mbti thoughts #thoughts #infj #estj #esfj #enfj #mbti post #16 personality types #threads #light academia #academia aesthetic #infp #estp

[coopsgirl]

Review of Rings of Power ep 1 (some spoilers)

This dude (Galadriel's "brother") could really use a comb for that severe cowlick he's got. What's even more egregious though is what he says to young Galadriel when he's trying to teach her a lesson. He says he may not always be there to help her in a very ominous foreshadowing of his death. Except he would have no reason at this time to think he would ever die as they are living in the bliss of Valinor.

I guess they didn't have the rights to use a map of Beleriand. When the elves left Valinor (end of years of the trees/beginning of the first age) the map didn't look like this. This is what it looked like at the beginning of the second age.

Sauron looks cool here but one cool shot ain't gonna save this thing.

One of the soldiers tells Galadriel that their mission was supposed to end months ago and she tells him no one wants to go home more than her but the "home" she's referring to is Valinor and she says she can't go until her mission is done (the mission is finding Sauron and avenging her "brother"). This is totally out of character for her as she did not want to go back to Valinor. She wanted to be in Middle Earth and have her own realm.

The CGI of the snow troll looked good (so that's at least where some of the money went) but the wire work (where the actress playing Galadriel would have been in a harness jumping in the air to attack it) looks very unnatural. Elves are light on their feet but they still move within the bounds/laws of physics.

The way they had the "not hobbits" hiding was clever but they are all so filthy that they just look like a bunch of old hobos and the acting amongst them is really not very good. I do wonder why they made the decision to make them sound Irish.

We meet Elrond and a couple of female elves tell him he can't go to the next council meeting because it is for lords only and he looks a bit upset. Of course that's because this version wants to be a politician (please kill me now!). At least Lindon looks pretty.

At one point Galadriel says, "Why Elrond, you really have become a politician" and he says, "You make it sound so grim". I'm dying inside here!

Gil-galad seriously chews some scenery to announce that he's rewarding some of the soldiers with a rare honor - they are going to Valinor like they just won a trip on a game show. That wasn't rare or an honor as it was a natural place for elves to go. If they wanted to go, they just went there.

Galadriel is standing amongst some statues of fallen elven soldiers including her brother and she tells Elrond that she doesn't want to leave them. That is just really dumb because the actual elves would be in Valinor alive (if their spirits have left the Halls of Mandos) and that seems a damn sight better than a statue. Then she tells Elrond that going to Valinor will not make her feel better or take away the bad memories of battle but that's exactly what it would do. Tell me you know nothing about Valinor and elves without telling me you know nothing about Valinor and elves.

They must have a Supercuts or something here for this dude to get such a fresh haircut. Seriously though, you see something like a very modern haircut that you would need electrical clippers to get in something like this and it takes you out of that world. It's like noticing zippers on costumes where they shouldn't be (they were first used in clothing in the 1930s).

One of the elves tells fresh haircut that he will return home with more than he left with including a title. There is no such thing as an elven aristocracy! This is just so dumb.

My response to seeing Celebrimbor was to burst out in a fit of laughter which I don't think is the reaction they were going for.

Then we cut to this and I'm laughing again! Why did they make him look like he has a square head?

Nice mullet there buddy!

As they get close to Valinor, Galadriel jumps off the boat which should basically mean death as they are very far from any land so that was a really dumbass thing to do. Then the meteor lands with the dude in it that I guess we're supposed to think is Sauron but will likely end up being Gandalf.

This show is just basically a big disappointment and feels like a cheesy TV show instead of the beautiful, complex world of Middle Earth.

#rings of power #rings of power sucks #middle earth must have a great barber shop #these elves looks like regular people with bad prosthetic pointed ears #none of the characters are interesting #nothing sucked me in #it just sucked #not tolkien

[vulpinevox]

Deadpool in Spideypool fanfic: calls Peter baby boy

Me: Oh boy! I hope I don't mimic this!

#for complete context #when I started reading spideypool fanfic a lot of it had Wade calling Peter 'baby boy' #and I just started refering to people like that in my head #and all this culminated when I was watching the hobbit with my partner #so spoilers for the hobbit in bound #just btw #but we get to the part where bilbo is crying and martin Freedman does that little whimoer that hita really hard right #and my ass goes 'oh no baby boy please don't cry' #so my partner over discord just pauses the fucking movie and goes 'WHAT DID YOU JUST SAY' #to which I just had to explain that I'd been reading the afformentioned spideypool fic #and began mimicing Wade Wilson because that's what I do when I see a character I xan project onto #anyways #meme #shitpost

[leahmovedagain]

✧･ﾟ: *✧･ﾟ:* about me for mobile users *:･ﾟ✧*:･ﾟ✧

info under the cut

name leah

pronouns she/her

age twenty one

country usa

race white

sexuality bisexual

party democratic

zodiac capricorn

mbti infj

hogwarts house huffepuff

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ship abusive/pedophilic pairings (ie. daenerys x drogo, starker, etc.).

headcanon lgbtq+ characters as straight.

are homophobic, transphobic, biphobic, racist, sexist, islamophobic, pro-life/anti-abortion, antisemitic, pro-cop, a trump supporter, etc (basically if you’re just an awful person).

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are a house stark / sansa stark extremist

don’t want to see anti game of thrones content. this is NOT the place for you lol.

bkg info/stuff you should know

this blog’s content consists of rambles from me, asoiaf, lord of the rings, the mcu, harry potter, the witcher amongst other fandoms here and there.

i’m a dog and cat person (have a pit and a black cat of my own!)

my love for daenerys stormborn of the house targaryen knows no bounds. i would probs take a bullet for her if she were real.

steve “the hair” harrington is a living legend.

carol danvers and wanda maximoff are everything.

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waiting for lorde3

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daenerys targaryen deserved better

^ with that being said I will post anti game of thrones content because that was the shittiest thing to ever grace my television screen

I have a history with being wanky on my older blogs but on this blog I’m going to do my best to stay out of fandom drama (we’ll see.. people test my will everyday!)

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things I post/reblog: game of thrones / a song of ice and fire, lord of the rings, the marvel cinematic universe, disney, the witcher, avatar: the last airbender, stranger things, films, tv shows, ect.

other things you should know

I hate it when people add comments to my gifs when they reblog it. you can comment whatever you’d like in the tags, and of course comments from mutuals/compliments are acceptable, but please don’t add a comment that is irrelevant or hateful towards a fandom/character because it literally gets on my nerves. make your own post if you want to spread hate or start a discussion. it’s easy to do. if i see comments like these on my gifs, the comment will be deleted/hidden and, depending on what the comment is, you will be blocked.

spoilers for films/tv shows will be properly tagged as “[film/show name] spoilers”. in the case of tv shows, spoilers for an episode will be tagged for one week after it airs. in the case of films, spoilers will be tagged for about two-three months after its theater release date.

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blogs I’m a member of / are a part of

ASOIAFDAENERYSDAILY - Source blog dedicated to Daenerys Targayren from GRRMs A Song of Ice and Fire book series. Reblogs book content only.

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DAILYEMILIACLARKE- Source blog dedicated to Emilia Clarke.

TLOTRGIFS - Source blog dedicated to reblogging gifsets from the Lord of the Rings and the Hobbit.

YENNEFER - Source blog dedicated to reblogging and creating edits about Yennefer of Vengerberg from Netflix’s The Witcher and the games as well as the books.

If you got to the bottom of this give yourself a pat on the back thanks for being supportive now go eat some pasta because you deserve it

#.txt #i pretty much just copied sameeras gtmk post and erased / added in my own stuff LOL #the laziness jumped out

[shielddrake]

The Monomyth in Video Games (AKA My Longest Rambling Ever)

Tell me if this sounds familiar:

 A person who comes from humble beginnings is called to go on an adventure to accomplish something great. He (it’s usually he) may either jump at the call or initially refuse it, but finally goes with the help of a mentor figure. He meets various amazing people and faces a myriad of challenges to achieve his ultimate goal. He confronts the main obstacle, overcomes it, and is rewarded for it. He returns to his home a wiser person, and bestows upon his fellow people the lessons he has learned, to the benefit of all. The End.

 Anyone know this? Anyone? Yup, that is a short, short, very short and simplified version of the monomyth, also known as The Hero’s Journey, a narrative device observed by many people but popularized by Joseph Campbell.  It has been studied and used by storytellers of various media, ranging from oral tales to books to movies to, yes, video games.

 It is one of the most common narrative devices out there, if not possibly the most common, at least historically. I’m sure a lot of us were exposed to Greek myths such as The Odyssey in school (at least, in America we are). JRR Tolkien’s The Lord of the Rings has many of the steps in the early parts of the story, before drifting in other directions once the fellowship separates. Each individual Harry Potter book has its own cycle of The Hero’s Journey. Every. Single. One. Star Wars is still a popular franchise (the more recent criticisms aside) and George Lucas has admitted repeatedly he used the monomyth as inspiration while he was writing the scripts for the original trilogy. So even if you are not intimately familiar with The Hero’s Journey in detail, high chances are you’ve been exposed to it simply through consuming various media.

 That’s not to say that using this narrative device is always intentional. I would find it incredibly surprising if Hiromu Arakawa or Hajime Isayama were purposely trying to include monomyth steps in their creation of Fullmetal Alchemist and Attack on Titan, respectfully, or that the creators of the 2019 anime version of Dororo meant to put Hyakkimaru through the paces of The Hero’s Journey, but sure enough, all these have some aspects of the monomyth in them!

 Does this mean a story, whether it’s a novel, TV show, movie or video game, has to possess all these steps in order to be considered using the monomyth?  No, definitely not.  On the contrary, it would actually be a good thing for stories to not require use of all these steps.  Telling a story by just crossing items off from a list is bound to create a rather stale experience. What I’m saying is simply that stories will borrow aspects of The Hero’s Journey to make the story compelling. The same goes for order and magnitude. The monomyth is usually presented in seventeen steps, but I don’t feel like they necessarily have to show up in the story in the listed order, nor do the steps have to take up equal amounts of the story-telling experience. Steps four through ten usually are the longest, while the last five or so tend to be rather short.

 So, in my apparently endless determination to apply the same techniques used in literary theory and film theory to video games, I would like to go over a couple of video games and how they do or do not apply the various steps of the monomyth.  I will go over four video games, noting whether each step is present, how much it adds to the story by its presence or absence, and how well the game represents the step.

 I’ve decided to review Final Fantasy VII (because its remake it coming out relatively soon), Dragon Age Inquisition (for another RPG, but not made in Japan), Bioshock (to show this isn’t just an RPG thing), and Psychonauts (because I’ve still got Psychonauts on the mind from my last post). I will also be comparing this to the monomyth found in Harry Potter and the Philosopher’s/Sorcerer’s Stone, The Lord of the Rings, and the Star Wars Original Trilogy.

 There will be spoilers for these movies and games, on the off chance that anyone who hasn’t seen or played them doesn’t want them ruined. Do I need to keep putting spoiler warnings on older games? Or for the books/movies? Although I’m also kind of writing this with the idea that you have at least a passing knowledge of these movies, books and games…Oh well, just to be safe: Spoilers Ahead!

 This is a really, really long one, so beware. Readers may want to take this in phases.

  Let us begin.

 1.) The Call to Adventure

 First, there needs to be a little backstory established. The hero’s journey usually begins in the home of the main protagonist, more often than not showing the protagonist’s life in its everyday normalcy, which is often put in a negative light, ranging from boring to outright dangerous.

 The hero will generally come from rather small beginnings, which is probably why orphans are a common origin story. Luke is an orphan who lives with his aunt and uncle, oblivious to the fact that his father is Darth Vader. Harry Potter is very much the same, living with a borderline abusive family who force him to sleep in the cupboard under the stairs. Frodo is also an orphan taken in by Bilbo, his second cousin (hobbit family trees are confusing). Please note that this does not preclude a hero from learning a parent is alive later in the story (looking at you, Luke).

 In addition to this, the hero is rarely someone with much power, authority or money. Being a moisture farmer on Tatooine is apparently not the most noble of professions (though on a desert planet I’m a bit surprised by this), and the Dursleys appear to be middle class at best. Bilbo and Frodo are wealthy by hobbit standards and seem to be higher on the social hierarchy in The Shire, but remember that hobbits mostly reside in the Shire and immediately surrounding areas, so they aren’t considered to be important players in the world of men or elves. They are small both in stature and in society.

 For our chosen video games, it’s a little bit up to interpretation of the word “orphan” and what the player decides, but the humble beginnings idea still applies. Cloud from Final Fantasy VII (FFVII) is half-orphaned at a young age when his father dies, but doesn’t become a full orphan until he’s a teenager, when his mother dies during the Nibelheim Incident. We only see this in a flashback, and adult Cloud is a full orphan by the start of the game. By this point, Cloud has fallen from a SOLDIER First Class to a mercenary. So he’s rebelling against the more powerful people in Midgar, or at least is being paid to do so.

 The Inquisitor of Dragon Age Inquisition (DAI) may or may not have living parents, depending on origin and player choice. A human Inquisitor probably has living parents, but it’s a bit debatable if an elf, dwarf or Qunari Inquisitor does. At the beginning of the game the Inquisitor loses any prestige they may or may not have had (especially the human noble), and a Carta dwarf, Dalish elf, and Vashoth Qunari don’t have much in terms of power or rank in Thedas anyway. Whatever the case, the Inquisitor ends up being just a simple prisoner for the early prologue part of the story, before being raised up to the Herald of Andraste and eventually to Inquisitor.

 Jack from Bioshock is an interesting case. He’s sold by his biological mother, “raised” by Dr. Suchong and Brigid Tenenbaum, and later smuggled out of Rapture to live with adoptive “parents.” He is also an outsider in that he is kind of an unknown factor, given his upbringing, so by the time Jack arrives in Rapture at the start of the game, he is basically nothing but another body that happens to be there. Without Atlas directing him, it is very possible he could have just become another splicer, the crazed and deformed human remnants of Rapture’s human population. Either way, he doesn’t have much in terms of money, power or authority by the start of the game.

 Raz from Psychonauts doesn’t fit the orphan archetype, as he clearly has a rather large family, but he is estranged from his father at the very least. We don’t know his relationship with the rest of his family, but perhaps we’ll see more of that in the sequel. Raz definitely fits the humble beginnings archetype though, seeing as a circus performer profession is looked down upon, especially if you ask Kitty or Franke.

 The Call to Adventure itself can come in many forms, either through circumstance, a person begging for help, the hero learning about their origin they previously didn’t know, the hero’s own desire for a better life, and so forth. “Help me, Obi-Wan Kenobi. You’re my only hope.” Yeah, that one is pretty clear. Harry Potter gets his letter to Hogwarts delivered by Hagrid, and Gandalf says that Frodo must deliver The One Ring to Rivendell (although in the book Frodo takes a few months just thinking about it before actually leaving the Shire).

 For Cloud, the call really comes from both Barret and Tifa, with Barret paying him to help destroy the Mako Reactors, and Tifa pretty much calling in the promise Cloud apparently made to protect her during their childhood. The Inquisitor is basically blackmailed into working with Cassandra and Leliana to rebuild the Inquisition to close the Breach, which the player can either go along with willingly or unwillingly.

 Jack…doesn’t exactly have a call to adventure so much as he’s thrown into the adventure by way of mental conditioning and circumstance. The player doesn’t really get how the plane he’s riding crashed and why he ended up in Rapture until later in the game, but he’s basically told by Atlas/Fontaine what to do to help him save his (Atlas’) family. And things just go from there. For Raz, he receives a pamphlet for Whispering Rock Psychic Summer Camp, and being a psychic himself Raz decides to run away from the circus (in an inversion of the normal run away to the circus trope) to attend the camp. I would still like to know who it was that gave Raz that pamphlet to begin with. I’ve heard a lot of different theories. What do you guys think?

 2.) The Refusal of the Call

 When the hero receives the Call to Adventure, in whatever form it comes in, the hero often refuses the call, saying he or she is not cut out for whatever the adventure calls for or they have something else more important to do.  This can be saying you have to help your uncle on the moisture farm, saying you can’t possibly be a wizard, or trying to give The One Ring to the wizard who reveals the danger you’re in. The Refusal is of course short-lived and the hero goes along with the call anyway, otherwise there would ultimately be no plot, or at least a very, very boring one.

 Cloud’s Refusal of the Call is short-lived but repeated. He tells Barret that Shinra sucking Mako from the planet isn’t his problem, tells Biggs he’s gone once the job is over, proclaims to the entire AVALANCHE group that he doesn’t care about the planet, and tells Tifa he’s going to let AVALANCHE deal with Shinra and that he’s no hero. It isn’t until Tifa reminds him of a promise he made to her that he actually sticks around the group. All this occurs in roughly the first half hour of the game.

 In DAI, a Refusal of the Call is optional based on player choice. The Inquisitor can reject being the Herald of Andraste basically from the word go, with repeated rejections scattered about the entire game. Later, the player can refuse the idea of leading the Inquisition, including for race or religious reasons.  All this doesn’t matter, however, as the game continues on with the player’s character being referred to as the Herald/Inquisitor anyway, so the refusal is kind of a moot point.

 Bioshock and Psychonauts don’t really have any Refusals of the Call. Raz actually jumps at the chance of going on an adventure, away from the circus, away from his family, who he thinks doesn’t understand him.  If anything, the refusal comes from his father, Augustus, who destroys the pamphlet for the camp and forces Raz to practice acrobatics instead. But Jack’s story is the most interesting to me in terms of the refusal, and anyone who has played through Bioshock knows why. Not only does Jack not refuse the call, but also he also literally cannot refuse it. His “Would You Kindly” mental conditioning keeps him from doing so, and I love that it is buried in the gameplay in a way that the player doesn’t even realize the mental conditioning is there until much later. Story and gameplay integrated!

 3.) Supernatural Aid/Meeting the Mentor

 I’ve seen this step be called alternatively both Supernatural Aid and Meeting the Mentor, depending on who is describing The Hero’s Journey. Campbell called it the former, while the more recent Christopher Vogel calls it the latter. Personally I think these should be separate steps, but they often have to do with one another in some way, so I guess they can go together.

 The term “supernatural” is just vague enough that it can mean many things.  It can mean magic, divine intervention, magic, genetic manipulation, magic, psychic abilities, magic, aliens, or Force magic, to name a few. Harry Potter and Fellowship of the Rings all have some form of magic (of course), while Star Wars has the Force. FFVII has magic, the ancient spiritual race of the Cetra, and, strangely enough, the alien invader Jenova. Psychonauts has psychics (again, of course).  DAI has presumed divine intervention from the Jesus-like figure of Andraste, at least until the Inquisitor enters the Fade and learns it was actually Divine Justinia, who is basically the Dragon Age version of the Pope. The Plasmids that Jack uses throughout Bioshock is more scientific than magical, but it still serves the same function.

 As for mentors, some of those are pretty obvious for the books/movies. Luke has Obi-Wan, Frodo has Gandalf, and Harry has Dumbledore. For our chosen video games, it’s a bit less clear.  Cloud’s “mentors” might actually be his love interests Aerith and Tifa, depending on how far in the game the player is. Jack has both Atlas/Fontaine and Tenenbaum, for better or worse. Raz actually has several, which is no surprise considering summer camps have to have several camp counselors, but the two major ones are Sasha Nein and Ford Cruller, since those are the ones he spends the most time with and Raz clearly looks up to Sasha as his hero.

 For the Inquisitor, that’s where it gets a bit muddy. It would seem like Cassandra starts as a mentor figure, giving the Herald advice and trying to direct them, but quickly takes a backseat once the player character becomes the Inquisitor proper. She doesn’t even show up at the war table anymore, whereas in Haven she does. Is Leliana a mentor? Kind of, but only in the sense that she acts as an advisor, roles that are also played by Cullen and Josephine.  Solas? Well, he would like to think so, and you even get minor boosts in approval if you listen to him. Or you could ignore him entirely and piss him off.  Andraste? Sure, if your Inquisitor is devout. It’s more up to the interpretation and choices of the player.

 4.) Crossing the First Threshold

 This is the step where the protagonist basically goes, “I don’t think we’re in Kansas anymore.” (Yes, MGM’s Wizard of Oz also has its own Hero’s Journey!) It is the point of no return, where the hero finally decides to go with the Call to Adventure.  It is also in this step that the hero first encounters some of the real world outside of his or her comfort zone. So, this is another step that is kind of more like two steps.

 Our movies certainly have this two-part step. Luke decides to go with Obi-Wan to Alderaan after his aunt and uncle are killed by Imperial soldiers, and the cantina scene is his first real interaction with the tougher people that exist in the galaxy, including the skeptical Han Solo. Frodo (eventually) decides to take the One Ring to Rivendell, and The Prancing Pony in Bree exposes the hobbits to full-sized people for the first time, other than Gandalf. Harry Potter also has two, once at the Leaky Cauldron (pubs and inns seem to be a trend) leading to Diagon Alley and again on the Hogwarts Express.

 Psychonauts has an obvious Crossing of the First Threshold: Raz enters Coach Oleander’s mind, the Basic Braining level, the first mind Raz ever enters…presumably. It’s possible he entered another mind before then, but it’s not likely.

 Jack’s first sight of Rapture kind of acts as a first threshold, for both Jack as a character and for the player, but I also kind of like to think of it as the scene where Jack first sees a Big Daddy defend a Little Sister from a splicer. It gives a bit of foreshadowing that nothing is what it looks like down here, and Jack (and by extension, the player) should be careful about who he trusts.  A Little Sister is not a small, innocent creature after all, because there is always a dangerous, hulking Big Daddy somewhere nearby. Atlas is not who he appears to be, and ultimately Jack isn’t either. Instead, they are both people wearing masks, one intentionally and the other completely obviously.

 The first attempt at closing the Breach in DAI is a clear crossing, because it is from there that the Inquisition is reborn and the main character becomes the Herald of Andraste. Nothing is the same for the player’s character from that point on. The same goes for Cloud and the gang after the pillar holding up the upper plate over the Sector 7 slums collapses. Most of AVALANCHE’s members are killed and Aerith is captured. It’s not about saving the planet by this point. It’s about saving Aerith and getting revenge. Things just domino on from there.

 5.) Belly of the Whale

 This step coincides with the previous one. It is the final separation from everything the hero knows and moving into the unknown. Oftentimes it overlaps with a step called Loss of the Mentor, but it doesn’t have to. Consumption by a whale is optional, though use of a metaphorical whale is the more common approach.

 Speaking of metaphorical whales, what’s a bigger one than the Death Star? The same place where Obi-Wan dies, leaving the last connection to anything Luke had to his previous life and the one who would help him step into the future. He’s aboard the Millennium Falcon with two other people, two droids and a Wookie, but in reality he’s completely alone.

 Another such whale is Moria, the underground kingdom previously ruled by dwarves, but by the time of The Fellowship of the Ring, it is overrun by goblins, orcs, and the Balrog. The fellowship is swallowed by the earth and needs to get out. The price of that, however, is losing Gandalf. Another mentor lost. An even bigger whale is seen later in the books once Frodo and Sam reach Mordor itself, and they have to face even more challenges to get the One Ring to Mount Doom.

 For Harry, the whale could be a couple of things. It could be Hogwarts itself, the Forbidden Forest, the Hogwarts Express, the forbidden room on the third floor, or perhaps the trapdoor under Fluffy and the passage underneath…Lots of options here.  Now, the mentor figure for this book, Dumbledore, doesn’t leave Hogwarts until near the end of the story, and thankfully he doesn’t die, unlike the previous mentors who happen to be old, bearded, wizard men. He waits until book six to do that.

 FFVII kind of has an opposite whale. On one hand, it could be argued that the Shinra, Inc. building could be the whale, and although it certainly could be, I think a more poignant one would be the greater world itself. Once Cloud and the gang escape from Shinra, they leave Midgar and head out into the world, and they don’t return to Midgar until the end of the game. This could also be considered a Crossing the First Threshold.

 Again, DAI is about choice, but there are two events that are pretty big whales. The first is trying to recruit either the mages or the Templars to the Inquisition to close the Breach. Whether the player ends up facing Alexius in a dystopian future or fighting an Envy Demon for control in the Herald’s own mind, the main character ends up delving deep into a dangerous situation they have to climb out of. The second time is during the quest line to fight the possessed Gray Wardens and the Inquisitor ends up falling into the Fade. Quite a whale there, the Fade. A giant world that is only supposed to be accessible either to mages or in dreams. This is even more intense of an experience for a dwarf Inquisitor, since dwarves do not dream and cannot be mages in this universe.

 Bioshock…well, besides the idea of Rapture itself being a whale (during the game’s opening scenes, we even see a whale swim between Rapture’s towers), I would consider the most likely place to be Rapture Central Control. It’s here that some of the most important game events happen, after all. Jack kills Andrew Ryan, there’s the reveal of Jack’s “Would You Kindly” mental conditioning, and Jack learns he’s actually Ryan’s illegitimate son. Not to mention learning that Atlas, who has been guiding Jack and the player throughout the game thus far, is actually Frank Fontaine, the big bad. He has actually been using Jack this whole time just to one-up Andrew Ryan in their little power struggle. And then Fontaine betrays Jack and sends security bots to kill him, leading to yet another loss of a mentor. That’s a lot to take in during such a short time.

 Psychonauts doesn’t have a whale, but it does have a Hideous Hulking Lungfish. Raz has to do battle with her beneath Lake Oblongata, and then enter her mind so Raz can release her from Kochamara’s control. By then, Sasha and Milla have already been kidnapped, under the ruse of “Official Psychonauts Business,” and Ford Cruller is forced to remain in his underground lair near the psitanium so he doesn’t fall into one of his many personalities. So much for help there.

 6.) The Road of Trials

 The Road of Trials is the meat and potatoes of the story. It’s all the challenges the hero must overcome in order to reach the ultimate goal, whether it’s a big or little one. The challenges themselves may also be large or small, and according to Campbell often occur in groups of three. These challenges prepare the hero for the final encounter at the end of the story.

 …Do I really need to go over these in detail for each movie and game I’m reviewing here?  It’s basically the plot all the characters go through during the course of the story, ranging from battles, dungeons, travel, magic classes, camp activities, puzzles, and so forth. I’m not going to list each one here. This post is long enough as it is.

 7.) The Meeting with the Goddess

 This step involves the hero meeting with another character who helps them in some way, whether it’s as part of the hero’s group, by giving an item that is helpful, or just giving good advice. More often than not, this character is one of high ranking: an actual goddess, a princess, a queen, or something of that sort. She may or may not be a love interest, and more modernly she may not be a “she” at all…our examples here though do happen to be female, but I’m just saying this doesn’t have to be the case.

 Star Wars is obvious. Luke meets Leia, the Princess of Alderaan who hides the plans to destroy the Death Star in R2D2, first in her hologram and then in person aboard the Death Star itself. Frodo meets Galadriel in Lothlorien, where she allows him (and Sam, in the books) to glimpse into the Mirror of Galadriel to see the possible future of the Shire should his quest fail. She also provides him the phial containing the light of Earendil’s star, which is vital to fighting off Shelob later on. I wouldn’t exactly say Harry Potter has a goddess to meet, but I like to think it’s supposed to be Hermione, since she knows so much and often is the only one who actually knows what’s going on.

 Let’s see. FFVII has Aerith, whose big “gift” to the story is giving her life while she prays for Holy to stop Sephiroth’s Meteor. Bioshock has Brigid Tenenbaum, who assists Jack throughout the game if he spares the Little Sisters, and removes part of his mental conditioning so Jack can resist Fontaine. Milla is one of Raz’s teachers at Whispering Rock Psychic Summer Camp, teaching him the Levitation ability, which is arguably the most useful ability in the game.

 As for DAI, there are plenty of characters that can play the role of the goddess, but I would argue the most important one might be Morrigan. She tells the Inquisitor about the eluvians and theorizes Corypheus is searching for one as a means to reach the Fade. Although she ends up being wrong, Morrigan also is a candidate for drinking from the Well of Sorrows, and if she does she helps the Inquisitor by fighting the red lyrium dragon during the final battle with Corypheus.

 8.) Woman as Temptress

 Here’s another misleading title. The Woman as Temptress originates back from Campbell’s research of Greek myths, where the hero is enticed by a female figure: Circe, Calypso, the Sirens, and so on. Today, the “woman” is really just anything that tries to drive the hero away from the path of his journey. This can be power, money, promises, or threats, for some other examples. It can still be a person, but lately that hasn’t been the case.

 There is always the temptation of the Dark Side of the Force, although Luke doesn’t really encounter this in full force until The Empire Strikes Back. The One Ring is the temptation itself, and it actually does succeed, since Frodo doesn’t throw the Ring into the fires of Mount Doom. It isn’t destroyed until Gollum bites off Frodo’s finger, reclaims the Ring, and falls into the Crack of Doom while doing a happy jig. Voldemort tries (very briefly) to get Harry to join him and hand over the Philosopher’s/Sorcerer’s Stone at the end of the book (it’s a bit longer in the movie) but that doesn’t last very long.

 There’s not exactly a temptation in FFVII, although I guess Jenova manipulating Cloud into bringing the Black Material to Sephiroth at the North Crater is the closest thing. I feel that goes more into the manipulation category than temptation though, but it still functions in a similar way. Bioshock has the temptation of harvesting the Little Sisters to receive more ADAM from them, and thus allowing Jack to obtain more abilities. This can be really appealing from a gameplay perspective, and results in the bad ending of the game if you kill every Little Sister. Alternatively, Tenenbaum compensates you if you spare the Little Sisters, so it’s not the end of the world to resist the temptation.

 …Raz doesn’t have a temptation to stop trying to become a Psychonaut. At all. Oleander never convinces him, Loboto doesn’t convince him (their interaction is actually incredibly small in the main game), none of the other campers dissuade him, and he faces all the obstacles in all the different minds with determination. The closest thing I can think of is Lili, who really just tries to give him a realistic view that the Psychonauts are not as important as they once were. I guess the “making out” scene kind of fits here, since Raz is clearing distracted by the idea of kissing Lili and doesn’t pay any attention to what she’s saying immediately after. Linda interrupting them puts an end to that though.

 As for DAI…yeah, I have trouble with this one.  There really isn’t anything that tempts the Inquisitor in a way that distracts them from the danger at hand. Romance doesn’t do it, power doesn’t do it, money doesn’t do it, blood magic doesn’t do it, demons don’t do it…Yeah, I’ve got nothing. Readers, please help me with this, if possible!

 9.) Atonement with the Father

 This is the step most people know even if they don’t know the concept of the Hero’s Journey itself, because it is such a common trope used in all kinds of story telling. This can be a father or father figure, and honestly it’s not unusual for this to be replaced by a brother in video games, and less commonly with another relative. This step may or may not be related to the next step, Apotheosis, depending on if the “father” is the source of the main conflict, but it is still one of the major obstacles the hero must overcome. Another thing to note that this step does not have to involve the death of the “father” either.

 Let’s face it: Star Wars is one of those films that normalized the father-son conflict dynamic in movies. Sure, it existed before then, but it became a huge thing after the iconic scene between Luke and Vader in The Empire Strikes Back. The conflict doesn’t come to a head until The Return of the Jedi, when Vader finally redeems himself by killing Palpatine and saving Luke’s life, giving his own in the process.

 That being said, it’s interesting that the other two movies we’re looking at have more distant aspects of the Atonement with the Father step. It’s not Frodo who has to deal with his father’s displeasure, but Faramir. Is there anything worse than hearing your father admit that he wishes you had died and your older brother had lived? Denethor doesn’t appear to care about Faramir until he appears to have died. This is less apparent in the book, but it’s still there.

 Harry Potter has the same thing. Obviously since Harry doesn’t have a living father, it’s kind of hard for him to have a conflict with him. I guess there’s kind of atonement with Severus Snape in the last book, but you have to really, really squint to make it that relationship one of a father-figure and son. …No, that doesn’t work for our purposes. There are issues with fathers with other characters, like Ron, Neville and Draco, but those relationships aren’t really elaborated on until later in the series.

 Video games often follow a similar pattern. Conflict with a father or father figure is incredibly common. Raz and Jack both have big issues with their dads, although Raz’s resolution is obviously more positive than Jack’s. Raz actually does atone with his dad, right before the final battle with a giant two-headed father monster in Raz and Oleander’s combined mental world. (If you don’t know Psychonauts, it makes sense in context, I promise.) Jack meanwhile…kills his biological father, although perhaps not willingly considering his mental conditioning. Andrew Ryan is a pretty terrible human being though, so maybe Jack/the player would have wanted to kill him anyway. Maybe.

 It should also be no surprise that the father issue doesn’t have to surround the main character, especially since being an orphan is a common backstory, as mentioned in the Call to Adventure step above.  The Inquisitor doesn’t really have issues with his/her father, presuming the player thinks the father is still alive, but Dorian certainly takes umbrage with his father trying to use blood magic to change his sexuality. It’s up to the player to either encourage or discourage Dorian from reconciling with his father, so this step is up in the air in that regard.

 Another similar conflict that occurs in DAI that isn’t with a father is between Morrigan and Flemeth, although I would hesitate to consider it”atonement,” especially if Morrigan is the one who drinks from the Well of Sorrows, thus tying her to Flemeth’s command. Of course, with Flemeth out of the picture and Solas taking over, I wonder how that connection stands now.

 The father conflict is also not related to the main character in FFVII. Red XIII, aka Nanaki, has issues with believing his father, Seto, abandoned his mother and his tribe during an attack by the Gi tribe. In truth, Seto actually sacrificed himself to prevent a backdoor invasion, turning to stone after being hit by several petrifying arrows. Once Red learns the truth about this, he proclaims that his father was a hero and he will protect his home, Cosmo Canyon, just like he did.

 And that’s not even getting into all the father issues present in the other Final Fantasy games, plus others in FFVII. Maybe I’ll do another post about that topic another time.

 10.) Apotheosis

 This is the point the quest has been leading up to. The final challenge. The final battle. The final countdown. The hero takes all they have learned over the course of their journey and applies it to this final challenge. If there’s a main villain of the story, this is the time where the hero confronts them.

 This is pretty self-explanatory. Luke Skywalker trusts in the Force, which allows him to blow up the Death Star. Harry Potter decides he wants to obtain the Philosopher’s Stone, but not use it, and that’s what allows him to receive it from the Mirror of Erised. And Frodo has to throw the One Ring into the Crack of Doom to defeat Sauron. That last one is interesting in that Frodo technically fails to do this final task, which is not something we historically see in Hero’s Journeys, but such a failure is becoming more common.

 Applying this step to video games feels a bit like cheating considering that a large majority of them have a final boss battle of some kind, and our four games are no exception. Most of the resolution of the main character’s stories coincides with the defeat of the final boss. Jack’s story ends when he is able to reverse his mental conditioning (with Tenenbaum’s help) and he defeats Fontaine, and the Inquisitor’s conflict with Corypheus ends, of course, with Corypheus’ death. The Trespasser DLC for DAI adds more conflict involving what happens after and what the Inquisitor is going to do about their Mark that is slowly killing them, but I feel that’s another story, so it’s beyond The Hero’s Journey of the main game.

 However, despite having final boss battles, I feel that Psychonauts and FFVII also have an Apotheosis step in terms of the characters themselves. Raz has to defeat the two-headed mental amalgamation of his and Oleander’s fathers, but he is able to do so because his real father breaks into his mental world and lends Raz his power so he can fight the monster. That reconciliation is more important to Raz’s story than beating the monster. Honestly, Raz probably wouldn’t have agreed to use his father’s strength if they hadn’t reconciled literally just prior to the final fight.

 Cloud’s Apotheosis really has to do with coming to terms with his false memories. He never actually joined SOLDIER, instead becoming a grunt in the Midgar army. He was experimented on after the Nibelheim Incident, escaped with Zack, and basically imprinted Zack’s life, experiences, mannerisms and skills after Zack was killed right in front of him. Cloud and Tifa have to sift through Cloud’s memories to figure out what really happened during the Nibelheim Incident, thus returning Cloud to his normal self. Essentially, Cloud has to realize that he is not as strong of a person as he previously believed, and that there’s nothing wrong with being weak. What you have to be is true to yourself. That’s more important than being strong.

 11.) The Ultimate Boon

 So if the Apotheosis is the final challenge of the journey, then the Ultimate Boon is the reward for overcoming it. This can be material or not, and likewise may or may not be what the hero initially set out to receive or accomplish. The boon can be large (such as saving the world) or small (earning a medal), and it can be public (again, saving the world) or personal (winning a love interest’s heart).

 Harry and Frodo both set out to accomplish a task, preventing the Philosopher’s Stone being stolen and destroying the One Ring, respectively, although Harry’s realization that he must do this thing is later on in the story compared to Frodo. They both succeed and are both rewarded. Harry and his friends are basically handed the House Cup at the end of the school year for thwarting Voldemort’s plan, and Frodo and the fellowship save the world, and more importantly for Frodo, save the Shire.

 However, Frodo does end up having to leave the Shire and go into the east due to the wounds he acquired throughout the journey as well as the strain of carrying the Ring. In a way, he is rewarded for his journey, but also punished because he didn’t actually accomplish the task he set out to do. He ends up leaving the Shire, his home, which he wanted to save to begin with.

 Luke is kind of the same way. He doesn’t set out necessarily to find his father and bring him back to the light. His Call to Adventure had to do with going to Alderaan with Obi-Wan to help Leia, and he is rewarded with a medal at the end of A New Hope for destroying the Death Star. However, his boon really has to do with reconciling with Vader, a conflict that doesn’t begin until The Empire Strikes back, later in his Hero’s Journey. However, this is just a good example of how the boon does not necessarily have to relate to the call.

 The boons for both FFVII and DAI are saving the world. It’s good for the world to not be destroyed, after all. Raz’s boon is a bit more personal: He is allowed to join the Psychonauts, which he set out to do, but his relationship with his father is also significantly improved now that the two of them understand one another better.

 For Jack, he saves Rapture…sort of. If the events of Bioshock 2 indicate anything, it’s that things really haven’t gotten better for Rapture following Fontaine’s defeat. However, presuming that the player spared the Little Sisters and gets the good ending of the game, Jack returns to the surface world with the cured Little Sisters, who essentially become his daughters. In the words of Brigid Tenenbaum, “In the end, what was your reward? You never said. But I think I know…a family.”

 Jack is given the short end of the stick in terms of family and future. His parents are not his real parents, his biological father Andrew Ryan didn’t want him, his mother sold him to Tenenbaum and Suchong as an embryo, and he has no control over himself or his own destiny. Considering it turns out everything Jack knew about himself and his family is a lie, a real family is the best thing he could have received. Jack basically has nothing at the beginning of the game, so the fact that he is able to still build a life for himself and the former Little Sisters is a great reward. Of course, this is thrown out of the window if the player harvests the Little Sisters and gets the bad or neutral endings, so there you go.

 12.) Refusal of the Return

 We’ve reached the point where the hero has accomplished the goal he/she has set out to do, has received their reward, and now has to go back to normal life that was left behind at the beginning of the story. What? The hero doesn’t want to return to normal life? They prefer the world they’re in now? Yeah, in a strange reversal of the Refusal of the Call, the hero no longer wants to return to their previous life, having earned the boon and learned the lessons they have.

 Can anyone really blame Harry Potter for not wanting to return to his aunt and uncle’s house once the school year end? Yeah, let’s go back to the house where he’s treated horribly, has a literal hand-me-down bedroom, and is not allowed to perform any of the magic he has grown to love. Plus his owl is forced to stay in her cage the whole summer. That sounds great! Let’s do that.

 Frodo, on the other hand, does return to his normal life in the Shire, but later has to leave because of his wounds and from carrying the One Ring (see The Ultimate Boon step above). It’s not so much that he refuses to return, but rather he is forced to leave again. Luke is kind of the same way. He doesn’t really refuse to return to his family and their moisture farm, it’s that he can’t return to it, because that has been destroyed. His previous life can no longer be. Even if we stretch the timeline to the end of The Return of the Jedi, Luke never goes back to just being a moisture farmer.

 Psychonauts only has a half-hearted refusal. At the end of the game, Raz acts like he’s going to go back to the circus, but only for a moment. Once the opportunity to go on another rescue mission comes up, Raz turns to nonverbally ask his father if he can go. It’s more like he’s asking for permission to not return rather than refusing outright.

 The Inquisitor of DAI doesn’t return to their previous world either. The life of running the Inquisition doesn’t end when Corypheus is defeated. It continues on until the Trespasser DLC, which even at the end of that the Inquisitor continues their adventure to stop Solas from basically destroying the world in a few years. I’m actually pretty eager to see how the Inquisitor fits in the next Dragon Age game, although the developers have given a 2022 release date, last time I checked.

 For Bioshock, Jack really does not refuse to return, symbolically indicated by him leaving Rapture and returning to the surface world. Regardless of whether he brings the cured Little Sisters to the surface to have a normal life or he becomes the splicers’ new leader and brings them to the surface to destroy mankind, he peaces out of Rapture at the first opportunity he has. There’s no refusal to return on Jack’s part at all.

 FFVII…okay, I’m again having trouble with this step. Cloud doesn’t really act like he refuses to go back to his previous life. His previous life is actually up in the air, with all his messed up memories and near lack of anything connecting him to his past, either as himself or with his false memories as an ex-SOLDIER. The only person really connecting him to his life before the story is Tifa, and I’m not going to get into the shipping wars about whether he should be with her or the now dead Aerith. That’s a different post. Regardless, by the end of the game, Cloud is more interested in moving forward than going back.

 13.) The Magic Flight

 In the process of returning to normal life, the hero will often have to flee from some kind of danger. This happens after the hero has received the boon, but before they are able to bring it to the people. If there’s a bad guy that needs to defeating or a task that needs accomplishing, this step often takes place immediately after. Actual flying is not required, but don’t be surprised if it does. The Magic Flight frequently merges with the next two steps, Rescue from Without and The Crossing of the Return Threshold.

 Let’s see. Luke escapes the Death Star on a shuttle with his father’s body. Frodo and Sam fly with the Eagles back to safety as Mount Doom is erupting. Harry is knocked unconscious and rescued by Dumbledore from the room containing the Mirror of Erised. Whew. Managed to keep that short.

 DAI doesn’t really have this step, because again, the story keeps going even after Corypheus’ end. However, I could argue there are other parts of the game that have a Magic Flight, such as escaping from the dystopian future after defeating Alexius or escaping the Fade after fighting the Fear Demon. These events just don’t happen at the end of the game. FFVII also only kind of has this step too, in the form of the Highwind bringing the party out of the North Crater following the defeat of Safer Sephiroth.

 Raz has to escape from his own mind, which is intertwined with Oleander’s in the last stage of the game, and his brain has to be detangled in order to return to his normal self. He’s not really conscious for the process though, so the player doesn’t really see it. As for Jack, this step is really kind of merged with the next two, so we’ll get to those.

 14.) Rescue from Without

 During the course of the Magic Flight, the hero will be unable to escape the danger they are trying to flee from on their own. Someone (or multiple people) will need to come in and rescue the hero. This is especially true if the hero is injured or weakened in some way, particularly after a rough final battle with the big bad.

 As stated before, this one often overlaps with the previous one and the next one. Vader saves Luke from Palpatine’s Force Lightning. The Eagles rescue Frodo and Sam from the erupting Mount Doom. Harry rescued from the attack from Voldemort/Quirrell by Dumbledore and brought to the Hospital Wing for treatment. Yeah, that sounds about the same as before.

 The closest thing the Inquisitor comes to being rescued from without, at least at the end of the game, is with the red lyrium dragon, where either a dragon-shifted Morrigan (if she drank from the Well of Sorrows) or the Guardian of Mythal (if the Inquisitor did). However, the red lyrium dragon defeats either Morrigan or the Guardian, and the Inquisitor and the party have to fight it anyway. So it’s an attempted but ultimately unsuccessful rescue.

 Raz is rescued by his dad, Augustus, from his own brain, and I imagine Cruller, Sasha and Milla all played a role in separating Raz’s brain from Oleander’s and rebraining him, even though this isn’t shown on screen.  Several Little Sisters stab Fontaine to death with their ADAM-collecting syringe, saving Jack from his final blow. It’s a wonderfully satisfying scene and I absolutely love it. FFVII has a rescue of sorts in that Aerith has to basically make the Lifestream rise up to help her Holy spell stop Meteor from destroying the planet. How she manages to do this from beyond the grave is never explicitly explained. It must just be a Cetra thing.

 15.) The Crossing of the Return Threshold

 So, this step is the final of the triumvirate of the return steps. The hero actually returns to their normal life or their previous home, and distributes the boon they have received upon the rest of the world. This is basically anything that happens after the climax of the story. Exposition explaining what exactly has happened may or may not be included.

 Luke returns to the rest of the characters on Endor to celebrate the destruction of the second Death Star, bringing the teachings of the light side of the Force with him. Harry Potter boards the Hogwarts Express to return to the Muggle world. And the hobbits all return to the Shire, although in the books they have to deal with Saruman and the Scouring of the Shire once there.

 For Psychonauts, there’s kind of a Return Threshold, but only if you stretch it, and not in the sense that returns Raz to his normal life. Quite the opposite actually. Raz and the gang levitate into the Psychonauts jet that just happens to show up from the ground. Hmm, didn’t Raz say he suspected that Cruller had a jet hiding in his lab somewhere? Oh look! More setup and payoff!

 Finally, we come to Jack. After defeating Fontaine, he is finally able to take a bathysphere to the surface again. The player sees this almost immediately after defeating Fontaine, and it occurs regardless of whether the player gets the good or bad ending.

 As stated in the Refusal of the Return step, neither DAI nor FFVII really have Crossing of the Return Threshold. FFVII just sort of ends and DAI doesn’t show the Inquisitor returning to their home origins, either in the game proper or in the DLC.

 16.) Master of Two Worlds

 This step is no so much of a step, but rather a final result of the hero’s journey. It is closely related to the next step, Freedom to Live. We see the hero basically in their final form, having achieved what they set out to do, whether that was the original intention or not. The hero is able to live in both their old and new worlds.

 In our chosen movies, Luke is really the only one who is the Master of Two Worlds. He recognizes the darkness that exists in him, but he can overcome it. Frodo, on the other hand, literally can’t become Master of Two Worlds due to his experiences. He has to leave one world (the Shire) permanently for the east.

 Harry…really has to compartmentalize his wizard and Muggle experiences, but that has more to do with his family not being willing to accept that magic is a part of him. Obviously his aunt and uncle do not care for his boon (magic) that he brings with him, forbidding him from using it, even without the Statute of Secrecy in place. He can’t really master both worlds in that regard, not until the last book and he reconciles with Dudley. (I’m really annoyed they cut that from the final release of the movies. That badly needed to be shown.) Harry does become a master of two worlds, the living and the dead, in the last book, but we’re looking at the first book alone, and this step isn’t really possible for him due to his circumstances.

 Now I have to admit, the only game (on our list anyway) that has this step is probably Psychonauts. Cloud steps away from his false life as an ex-SOLDIER when he admits that it was all in his head, choosing instead to continue to live as himself. Jack either returns to the surface with the Little Sisters and stays there (in the good ending) or becomes the master of Rapture and new leader of the splicers, rejecting his previous life. And The Inquisitor, well, I guess you could say they become the master of both the real world and the Fade, especially since he/she gets progressively better at controlling the Anchor and closing Fade rifts. However, they he/she still remains in the real world as the Inquisitor, until the events of Trespasser at least. These three games have the main character choosing one world over another, so it’s hard to pin them down as “masters” of two.

 Psychonauts, however, shows Raz accepts both parts of his life, as an acrobat and as a Psychonaut. This is illustrated excellently during the last platforming part of the game, during Meat Circus, with the rising water and Raz needing to keep up with his mental image of his dad. He uses both his acrobatic skills and his psychic powers to reach the top of the area. And as stated previously, Raz gains his father’s blessing before running off on another mission. Raz succeeds at being a Master of Two Worlds, and this kid is only ten!

 17.) Freedom to Live

 A follow up of the previous step, Freedom to Live is pretty much exactly what it sounds like. Having mastered both worlds, the hero is allowed to live, as he or she wants, without worrying about any more conflicts…until the story sequel at least. This is the happy ending of the story, presuming the story has a happy ending.

 All of our protagonists, both movie and video game, manage this step in one way or another. Luke no longer has the threat of the Sith looming over him, and he can be at peace knowing he helped to redeem his father (and, for now, I’m going to ignore the stuff that happens in the New Trilogy, because that starts up a whole new set of the monomyth). Harry is given the opportunity to go back to Hogwarts for more schooling, and even though his Muggle family disapproves, he knows who he is now and has answers for things he couldn’t explain before. Overall, the end of the first Harry Potter book gives him a new lot in life, and the series continues on with that from there.

 And Frodo. Poor Frodo. Perhaps it’s hard to say he has “freedom” to live since he does end up leaving the Shire, but considering that his goal was to save the Shire (and by extension, all of Middle Earth), he succeeds. Frodo had to leave his home, but the other hobbits, including Sam, his closest companion, were able to live without a care. It’s a sacrifice, but one Frodo seems content to make.

 As for the video games we’re looking at, well, now Raz has the freedom to pursue his dream of being a Psychonaut without worrying about it alienating his family, his father in particular. Cloud is able to put the past behind him and move forward as his own person, rather than trying to live up to a standard he forced himself to before. The Inquisitor has challenges ahead to be sure, but without the threat of Corypheus breathing down their neck, they have a bright future to look forward to (at least until Solas decides to tear down the Veil, but we’ll have to wait for Dragon Age 4 to see how that turns out). And finally, Jack finally has answers to any questions he had about his life, and with his mental conditioning removed, he is finally allowed to choose his own fate, whether as a despotic leader of the splicers or as a father to the cured Little Sisters.

 So there you go. The Hero’s Journey in a bunch of movies and video games. As I said at the beginning of this extensive diatribe, the monomyth is not the only way to tell a story well, and it certainly is not mandatory to make a story good. However, whether intentional or not, parts of the monomyth somehow find their way into the stories we share in our various media. It’s worth looking at for any kind of story, if only to analyze how the presence or absence of the monomyth affects the story, for better or worse. And yes, video games can be a great form of story telling, if developers take the time to create it and players take the time to experience it.

 Okay. This post has gone on long enough. To anyone who managed to make it all the way here, thank you for your patience and commitment to reading my ramblings.

#video games #video game analysis #movie analysis #monomyth #hero's journey #spoilers #writing #storytelling

[douxreviews]

Babylon 5 - Series Review

"Now get the hell out of our galaxy."

J. Michael Straczynski’s Babylon 5 was the last, best hope for a rival sci-fi television franchise to challenge the dominance of Star Trek. It failed. And let’s be glad it did. Last thing we needed was another bloated franchise knocking out a never ending cycle of naff spin-offs. Instead let’s be thankful for what remains to this day as one of the finest sci-fi series ever made. But it did take some time before it became that.

[Warning: This review contains spoilers]

Season One - Signs and Portents

Straczynski envisioned the series as an epic novel for television told in five volumes with each episode being an individual chapter. JMS wanted to tell a universe changing saga of heroes and villains, epic battles and the rise and fall of empires. Something akin to Tolkien’s Lord of the Rings, only in space with aliens instead of hobbits and on a limited television budget. Surprisingly, this didn’t turn out to be as impossible as it might have seemed.

The year was 2258. The name of the place was, duh, Babylon 5, a massive five-mile long space station built by humans after the devastating Earth/Minbari war -- a place where aliens could meet to talk out their differences. Straczynski presented us with a future that was a far cry from the optimistic utopia of Gene Roddenberry. Crime, poverty, corruption and prejudice still existed. The various races were constantly at each other’s throats. Many of the alien races felt genuinely extraterrestrial, not just a load of humanoids with bumpy foreheads and pointed ears, although the station did have its fair share of those.

B5 first aired in 1993 with the (not very good) feature length pilot ‘The Gathering’. A year later the first season began airing with ‘Midnight on the Firing Line’ on the now defunct PTEN network, the show’s home for its first four seasons. In truth the first season is not the series’ strongest. No doubt in an effort to not alienate a potential audience, the season is driven more by predominantly naff standalone episodes, than the show’s signature story arcs. These standalone tales were often just sub-Trek nonsense that did little to help B5 to stand out from its rivals. Nevertheless there was still some good to be found in amongst the crap. After all, as rubbish as ‘Mind War’ was, it still gave us Walter Koenig as that slippery Psi Cop Bester (still B5’s finest villain).

In the second half Straczynski gradually started to move away from alien of the week tripe like ‘TKO’, ‘Believers’ and ‘Infection’ and began to lay the foundations for the awesomeness that was to come in episodes like ‘And the Sky Full of Stars’, ‘Signs and Portents’ (the introduction of Mr Morden and the Shadows), the two-parter ‘A Voice in the Wilderness’ and ‘Babylon Squared’ in which the crew investigate the sudden and mysterious reappearance of the missing Babylon 4 station. The big season finale ‘Chrysalis’ is a veritable congregation of ‘holy shit, did they just do that?’ moments as earth shattering cliff-hanger follows earth shattering cliff-hanger. Sinclair’s final lament “Nothing is the same anymore” couldn’t have been more appropriate.

At this early stage the characters were also something of a mixed bag to be sure. While G’Kar and Londo arrive practically fully formed (despite some rough early make-up effects) the rest of the cast all needed a little more work. Sinclair was too often stiff and po-faced while Ivanova had yet to develop something resembling a sense of humour. And I can’t be the only one who thought that Jerry Doyle looked like the product of a failed attempt to clone Bruce Willis?

The first season was certainly a patchy start for Babylon 5. Much of it hasn’t dated well. While they were groundbreaking and innovative at the time, much of the CGI effects now look rather primitive but still manage to stand up a lot better than most of the shows from the time (Space: Above and Beyond for example). The costumes and alien make up are all a little rough. And the dialogue constantly veers between clunky and cheesy. But the series potential was still there for all to see. By the second season the show would improve by leaps and bounds, culminating in some of the finest TV drama of the last 25 years.

Season Two - The Coming of Shadows

It was a year of change in season two of Babylon 5.

Due to illness, Michael O’Hare amicably agreed with creator J. Michael Straczynski to depart from the show. He was replaced by Bruce Boxleitner as the new station commander, Captain John J. Sheridan. The former Tron fitted in quite well on B5 and after a few episodes you’d easily be forgiven for thinking he’d been there the whole time.

The first episode ‘Point of Departure’ serves to introduce and establish Sheridan as the new station commander and show how he handles a crisis. It’s not until episode two ‘Revelations’ that JMS got around to resolving all the cliff-hangers from the previous season. Delenn came out of her cocoon with L'Oreal hair (because she’s worth it) and instantly caught Sheridan’s eye. Garibaldi woke from his coma to expose the man who shot him in the back. And G’Kar returned to the station with grave warnings about the darkness to come (that no one would listen to until it was too late).

Season two has the look and feel of a show more assured of its self, more confident in what it can accomplish. This was the year Babylon 5 stopped looking like just another Star Trek clone and became a small screen sci-fi epic to be reckoned with. There were still a number of rubbish standalone episodes such as ‘The Long Dark’ and ‘GROPOS’ to put up with, but they weren’t as bad as they had been in the first season. Besides, when you have episodes as good as the Hugo Award winning ‘The Coming of Shadows’, ‘In the Shadow of Z’ha’dum’ and ‘The Long Twilight Struggle’ what are a few duff ones here and there?

Walter Koenig returned as Bester in ‘A Race Through Dark Places’ and continued to make us forget he was ever Chekov. ‘And Now For a Word’ looked at life on the station from the perspective of a news program. Later in the season Lyta Alexander, not seen since the original pilot, would return in ‘Divided Loyalties’ to expose a sleeper agent on the station that had devastating consequences for Ivanova. And ‘Comes the Inquisitor’ sees the Vorlons test Delenn with the help of Jack the Ripper (no, seriously).

With the addition of Boxleitner the main cast was considerably stronger this season, albeit there were still a few redundant characters that needed to be gotten rid off such as Lt. Keffer, a hotshot fighter pilot character the network insisted that Straczynski add to the line up. But JMS was not one to let even an unwanted character go to waste and used Keffer’s fate to further along the Shadow War arc. The same could not be said for G’Kar’s aid, Na’Toth, who just sort’ve vanished after two episodes without anyone, her boss included, noticing.

It’s no small thing to say that Andreas Katsulas and Peter Jurasik were the series' best actors and this season they took their performances to another level. For most of the first season Londo was nothing more than the comic relief, but this season Londo’s story went in a much darker direction as he grew closer and closer to Mr. Morden and his ‘associates’. Similarly as Londo fell further into darkness G’Kar began his long and painful journey towards redemption and spiritual enlightenment.

The season finale ‘The Fall of Night’ managed to end the season on a suitably downbeat note, but lacked the universe shacking impact of ‘Chrysalis’. While the future looked bleak for the characters the show’s future looked ever brighter. With the flaws and weakness of the first season overcome Babylon 5 would continue from this point to go from strength to strength.

Season Three - Point of No Return

In my humble little opinion season three of Babylon 5 is one of the greatest seasons of television in the entire history of the medium. This was the absolute peak of Straczynski’s small screen space opera. Admittedly, it’s not 100% perfect. It was at this point that Straczynski started writing every single episode himself (an impressive achievement to be sure) so inevitable dreck like ‘Grey 17 is Missing’ gets sandwiched in between all the great stuff. And we were pretty much spoilt for choice with great stuff this season. After two years worth of build up this was the season where things finally started to pay off.

The season started quietly enough with a group of mostly standalone tales of varying quality and significance. But by the time we got to ‘Messages from Earth’ the fan was well and truly hit and hit hard. The entire status quo of the series was suddenly turned upside down and there would be no going back. Straczynski didn’t so much as jettison the reset button as completely obliterate it. ‘Point of No Return’ saw the Earth Alliance become a fascist dictatorship under President Clark forcing the crew of Babylon 5 to break away into an independent state. This all lead to the epic ‘Severed Dreams’ (another Hugo winner) in which our heroes fought to defend the station from Clark’s forces. From now on Sheridan and company were cut off from home on their own (and got some nifty new uniforms to boot).

The season settled down for a bit after that until the Shadow war finally kicked off in full. ‘Interludes and Examinations’ sees Kosh make a devastating sacrifice on Sheridan’s behalf. The two-parter ‘War Without End’ saw the return of Sinclair and finally revealed the true story behind the disappearance of Babylon 4. After the big battles of ‘Shadow Dancing’ everything comes to a head in the season finale as Sheridan goes with his not-so-dead wife, Anna, back to Z’ha’dum. They should really use this episode in media studies classes as an example of how to write a truly great season finale. It’s simply a breathtaking 45 minutes of television that (again, IMHO) no one has yet to come close to equalling or surpassing.

With so many big events jostling for screen time JMS wisely doesn’t let the characterisation get lost in amongst the explosions. Sheridan and Delenn kept making gooey eyes at each other. Ranger Marcus Cole arrived on the station and wasted no time hitting on Ivanova. G’Kar finally found inner peace and a new purpose in life. Franklin struggled with drug addiction and resigned. And Londo’s decent into darkness continued despite his best efforts to escape his destiny.

Season three was the middle chapter of Babylon 5 and the point in which it got seriously worse for our heroes before it could eventually get any better. Creatively the show was riding on a high. From the acting to the special effects everything was at its absolute best. Sadly the show would never be this good again. Outside factors would eventually derail Straczynski’s carefully constructed five-year-plan. But season three still stands as a shinning beacon of everything that was, and still is, great about Babylon 5.

Season Four - No Surrender, No Retreat

So much for best laid plans, eh?

When he first conceived of Babylon 5, J. Michael Straczynski had a definitive five year plan for the series. By the fourth season that plan was in serious danger of falling apart. The Prime Time Entertainment Network, the series’ home from day one, was not long for this world and as such the future of the series was uncertain. Fearing that his show would be cancelled before he could conclude the story, Straczynski went in to emergency damage control and started wrapping up the all major storylines far earlier than he’d initially planned. As a result season four is the most densely packed season of the show’s entire run, as barely a single episode is wasted in Straczynski’s mad rush to bring his story to what seemed at the time to be a premature end.

After nearly three years of planning and build up, the Shadow War, the very driving force of the entire series, was over in the space of just six episodes. The whole thing raced to an underwhelming conclusion that basically amounted to nothing more than Sheridan telling the Shadows and Vorlons off for being naughty and sending them to their rooms without any supper for the rest of eternity. Babylon 5 was the first notable sci-fi series to start using extensive story arcs (something that’s practically the norm nowadays) but it was also the first to bring its story arcs to a disappointing resolution (something else that's practically the norm nowadays).

With that major arc out of the way Straczynski got to work setting up the Drakh threat, built up the growing conflict between Sheridan and Garibaldi, dashed through a Minbari civil war in record speed before finally kicking off the war against President Clark’s fascist government in ‘No Surrender, No Retreat’. The conclusion of the Shadow arc might’ve been a letdown but the Earth civil war was Babylon 5 at its absolute best. Only problem was that it was over almost as quickly as it had started. Originally the plan was for the Earth conflict to be carried over into the fifth season with the fourth season ending with Garibaldi’s betrayal and Sheridan’s capture. But with the show’s future in doubt everything was wrapped up with ‘Endgame’ and ‘Raising Star’. Straczynski was all ready to end the series then and there, but when cable network TNT agreed at the last minute to finance a full fifth season the final episode 'Sleeping in Light' was pushed back a year and a new season finale was quickly shot on the cheap.

Despite it's ups and downs season four is still a strong season. Although there are no Hugo winners, there are still several standout episodes, most notably Sheridan’s brutal interrogation in 'Intersections in Real Time'. The acting was excellent across the board this season, but if there’s a single standout star without a doubt it’s Jerry Doyle. Straczynski sent Garibaldi to hell and back this season and Doyle rose to the challenge with gusto. Sadly this would be the final season for Susan Ivanova as a contract dispute would prevent Claudia Christian returning for the fifth season. With no time to shoot a proper goodbye scene her departure is clumsily handled in voiceover, a disappointing exit for one of science fiction's finest heroines.

Season Five - The Wheel of Fire

The last minute renewal for Babylon 5 was something of a mixed blessing. On one hand it meant that the show would continue and J. Michael Straczynski would now be able to complete his much talked about five-year-plan. But since Straczynski had wrapped up almost every single significant plot thread during the previous season he was now stumped about what to do next. Sure, he had a lot of great stuff with Londo planned, but that didn’t get going until towards the end of the season. So what the hell was he going to do until then?

Straczynski had twenty-one episodes to fill up and barely enough story material to cover a quarter of the season. Rather than relinquish some creative control by bringing in a load of new writers and some fresh ideas, Straczynski continued to write virtually every single episode himself even though it was clear by this point that he’d reached his burnout stage. Granted, the only time he did allow someone else to write an episode it resulted in Neil Gaiman’s dreary ‘Day of the Dead’ but that's still no excuse for not sharing your toys, Joe. Actually, in many ways the series came a full circle with season five as Babylon 5 went back to the sort standalone filler dreck everyone thought we’d seen the last of in season one. Worst offender being the abysmal Tom Stoppard homage ‘A View from the Galley’ which looks at an attack on the station from the perspective of two repair workers who sadly, unlike Rosencrantz and Guildenstern, don’t end up dead at the end.

The lack of decent episodes wasn't the show’s only problem this season, as its previously strong characterization seemed to have vanished entirely. They might’ve looked the same, they might’ve even sounded the same, but these were not the same characters we’d been following faithfully over the last four years. Despite now being President of the Interstellar Alliance (with all the power and influence of a UN Secretary-General) Sheridan still stomps around the station like he owns the place becoming the type of character you’d rather punch in the face than follow into the jaws of hell. Delenn, meanwhile, has been relegated to the prestigious role of ‘her indoors’. Elsewhere, Garibaldi roamed aimlessly around the station in a futile search for a decent plot line, while Londo and G’Kar spend most of the season working on perfecting their buddy comedy routine. And with Claudia Christian gone (but sure as hell not forgotten) Tracy Scoggins was brought in to replace Ivanova as Captain Elizabeth Lockley, the station’s new commander and Sheridan’s ex-wife (huh?). Try as she might, it is difficult to take Scoggins seriously as a tough military leader.

Now that the Shadows were gone and President Clark had been overthrown there were no more enemies to fight and our heroes were all getting ready to live happily ever after. As a result virtually nothing happened for the majority of the season. The only significant event in the first half was a limp rebellion by Gap model telepaths lead by Byron, a walking personality black hole. The only upside to this arc was more focus on Patricia Tallman's underused Lyta Alexander and the always welcome return of Bester, who even gets his own episode this season, the disappointingly bland ‘The Corp Is Mother, The Corp is Father’. Once all the dull telepath malarkey is done with the season finally starts to pick up some much needed steam as the Interstellar Alliance goes to war with the Centauri. But even this conflict fails to provide the same kind of high drama and epic battles the show used to give us. Only the tragic conclusion of Londo’s story in ‘The Fall of Centauri Prime’ makes any kind of emotional impact.

The remaining episodes are all used for some last minute wrap up and a shed load of teary goodbye scenes to rival anything Peter Jackson could come up with. After everyone has gone their separate way Straczynski closes the book with ‘Sleeping in Light’ an elegant and beautiful epilogue to the series and one of the best series finales of all time. Although it did manage to end on a high note (notably with an episode left over from the previous year) overall season five is a disappointing dud.

Despite this less than grand farewell, Babylon 5 still remains one of the greatest sci-fi series ever produced. Admittedly it was something of a flawed masterpiece thanks to the occasional wooden acting, clunky dialogue, dodgy standalone episodes, cheap sets and a tendency to get lost up its own mythology. But with this show Straczynski created something truly unique, an epic science fiction novel for television with a definitive beginning, middle and end. Yeah, the beginning was a bit uneven and the end part didn’t work out as planned, but that middle section, boy, was that good.

Mark Greig has been writing for Doux Reviews since 2011.

#Babylon 5 #B5 #John Sheridan #Delenn #Susan Ivanova #Michael Garibaldi #Londo Mollari #G'Kar #Babylon 5 Reviews #Doux Reviews #TV Reviews #something from the archive

[brazenautomaton]

Now that Silent Partner, Unfinished Business is complete, it’s time for answers and trivia and commentary and other such spoilers under a readmore! Send me an ask if you have any other questions about stuff, or post it as an AO3 comment.

First, the chapter titles. Following the naming convention of 100 Bullets, each of them references or alludes to the chapter number that it is.

One Is The Lowliest Number - references “One Is The Loneliest Number” by Three Dog Night. 

Folie a Deux - “Folie a Deux” or “Madness of Two” is when people transmit psychiatric illness, delusions, or hallucinations through social connection.

Bad Company - references the phrase “Three’s company, four’s a crowd” - and “Bad Company”, by Bad Company, on the album Bad Company.

Forewarned is Foreboding - references the phrase “Forewarned is Forearmed”

Slaughterhouse - references “Slaughterhouse-Five” by Kurt Vonnegut

Six Degrees of Severance - references the concept of “Six Degrees Of Separation”, and the process of severing a connection.

Magnificent - references the classic Western “The Magnificent Seven”.

Termination Procedure - AKA “Termin8ion Procedure”, it’s the process you go through to end someone’s employment.

Never A Cloudy Day - September is the ninth month of the year, "September” by Earth Wind And Fire contains the lyric “Say do you remember / Dancing in September / Never was a cloudy day”.

Epilogue: Decision - Deci-, as in decimal, is the Latin prefix meaning ten or tenth. 

I wrote the first version of this story over 10 years ago. I wrote myself into a corner in Chapter 5, because the Yotsuba Kira was still Higuchi, and it lay untouched for a decade. Naomi could write fluently and at length, her relationship with Misa was way easier, everything else was way easier, and it honestly wasn’t that good. I think like 1/3rd of chapters 1 through 4 are made up of text from the old version?

The idea of this being a fix fic to bring back a character that the narrative shortchanged was not the first idea. The first idea was “100 Bullets and Death Note ask exactly the same question, what would you do if you could kill someone and get away with it. But they answer it in totally different ways. How could those two concepts meet? Well, who in Death Note was betrayed and would seek revenge? Naomi Misora is a good candidate. How do I bring her back to life in a way that doesn’t seem she got off scot free?”

The original version of the story had no hints about the Minutemen (or the Trust, L’s employers) because none of that stuff was in the 100 Bullets comic yet, or at least not the trade paperbacks I had access to. The Minutemen and the Trust are kind of lame, to be honest, and they kinda dilute the elements and stories that made 100 Bullets compelling, but they are a perfect match for all the unanswered questions about L that Ryuzaki vocalizes in chapter 6.

You probably noticed how everyone had to stammer and search for the word “aphasia”. Did you notice that Misa was the only one who ever correctly used the word, had it immediately called to mind, and wasn’t reading it off a piece of paper? She was thinking about that word a lot more than everyone else.

I don’t remember when I first started using the double-slash notation for written text, but I figured that calling out written text was extremely, extremely important in a story where written text is extremely, extremely important for multiple reasons. I don’t know if I’ll use it for anything else I write.

Light’s symbolic fruit is the apple, obviously. Naomi is seen drinking orange juice and eating orange-flavored things, because they are as dissimilar as apples and oranges. Misa -- stuck between them and unsure of whose identity she will adopt -- drinks a lot of spring water.

“Midland Carbide Labs” and “Amalgamated Flourodynamics” are the two opposing player teams in the Half-Life mod “Science and Industry”, where players abduct scientists from each other to research their weapons.

Beta reader @ellieintheskywithroxy is a qt3.14.

Misa did a photoshoot, as a Malkavian vampire schoolgirl, for White Wolf Publishing back in the day. She thinks that White Wolf owns vampires the same way the Tolkien estate owns hobbits, so any changes they make to their setting are Official Vampire Changes, and she was miffed they got rid of Masquerade. Depending on her mood she thinks Naomi is either a Brujah or a Toreador.

Light’s “decoy Kira” plan was going to explode if it ever got to the point where he commanded or tricked Kira-Y into giving up his memories -- Nabiki Egawa would remember everything and they’d figure out Kira’s deception real fast.

The fact that Light’s WoW character is a Holy Paladin who he did not earn but instead purchased illicitly is extremely intentional. He plays WoW instead of a made-up game because A: I can cite details and people will appreciate the deep pulls and B: if I made up my own online game with a character as completely braindead easy to play as a Holy Pally in Burning Crusade, to allow Light to type messages while playing, it would look like I was making up absurd nonsense to make things easy on the character.

Naomi’s reaction to the BB case mirrors my own. I honestly could not finish the light novel because I found the authorial voice so grating, and the combination of smugness with the complete lack of knowledge about how things work in the setting of the story (literally one of the first things in the narration is something along the lines of “Of course her superiors were demeaning her, she was a woman and Japanese and this was America and we don’t need to go into any more detail than that”) was infuriating. And in the story that is supposed to be Naomi’s time to shine, she accomplishes nothing, saves no one, may as well not have gotten out of bed, and the things we’re supposed to see as her being a genius are her ability to follow along the clues that she is being spoon-fed by the actual serial killer. Jesus, dude. I said this whole incident gave her an incredible sense of impostor syndrome and hatred for her job, because the rest of the world -- like the LN itself -- acts like she accomplished something when she clearly did not. 

Similarly, I changed the details of Misa’s confinement to make sense. On someone else’s post, someone asked if Misa was tortured -- the depiction of her treatment is so inconsistent and incoherent that this is impossible to answer in the canon. They say she was denied water for three days, but has none of the symptoms of it. They have her bound a to gurney apparatus that takes twenty minutes to set up, and let her out every single time she asks to pee, and somehow she never tries to escape. And of course she gets out after a month of not moving with no muscle atrophy. This version is supposed to be a coherent model of treatment that sits on the borderline, in a grey area -- it’s torture if it’s done to inflict pain, and not torture if it’s done out of a reasonable concern for safety. The Second Kira was the most dangerous human being on the planet Earth and they had no idea how she worked. Some of her confinement was obviously necessary for the sake of safety. But how much of it was, and for how long was it warranted?

Most of the new Death Note rules are introduced to set up things that happen later, answer niggling questions I had, or just flesh out the concepts introduced. But the rule about “Once your lifespan goes negative, if you try to update it again, it just flips the fuck out” is just so Naomi and Misa can’t know how much lifespan Rem gave them.

There was no good or natural time to show it, but the moment Misa heard about rule 38a, which says that you can only regain your memory of the Death Note six times, she figured out if it was possible to surrender a Death Note that wasn’t being actively haunted (it was), she just reclaimed and gave up an evidence sheet of //ARVC-5// five more times.

Ryuzaki has no idea where the pina coladas are coming from and at this point he is too afraid to ask.

#Death Note #fanfiction #SPUB

[ran-satori]

Stranger Things Season 2 Did Not Disappoint (a.k.a. 10 Things I Really Liked About It)

While most fan predictions, theories and even wishes were mostly on the mark, nothing could prepare us from how they unfolded over 9 episodes.

Spoilers abound. You have been warned. The list is a work in progress and will be continually updated as I rewatch the 2nd season for the entire week. I will also be coming up with a list of 10 things that I didn’t like about the season.

So here’s 10 things I loved about this season:

I liked how Hopper tried his best to be a dad to El in the first 3 episodes. It was kind of cute at how he seemed to bribe her with privileges (well, Eggos mostly) in order to keep her in the cabin for almost a year. Well, 353 days did reach its breaking point after all and he simply learned that he had to let El truly live. That scene where he receives El’s forged birth certificate and giving him his family name was as touching as also letting her take the few steps of living a normal life at the Snow Ball Dance. 

Bob was kind of annoying at first but he quickly grew to be a dark horse and beloved character that you’d root for in surviving the season. But alas, it was simply not meant to be. In the least, the other kids (besides Noah and Jonathan) felt a sense of admiration for the guy as he was said to be the original founder of the middle school AV club and he even rubbed off on their own science teacher Mr. Clarke.

I like the way how the younger kids still did all the “solving” (via D&D analogies) and even became more daring and proactive in the last 2 episodes. Steve was in his element despite taking a beating (again). Honestly, the guy really has to graduate from being a punching bag next season. Or is this the Duffers’ way of having a character being a running gag?

The Byers’ house… I cannot even begin to describe how that house got so messed up again. The house still got beaten up pretty badly this season. I liked how it retained a “personality” of its own (and how the place could use a darn renovation). I just hope it doesn’t get burned down next season because while that may be a way to for the Byers’ to start fresh and get rid of some bad juju, the house was always the nexus for everything.

While the relationship between Max and El was somewhat off to a rocky start on their first meeting, I still liked how Max quickly acclimatized herself to the party throughout the episodes and that she has found some semblance of a home with them despite how they’re a bunch of nerds. I really admired her patience in handling both Mike and Dustin.

Jancy was bound to happen. Even though Steve quickly found himself in the friendzone once again, he marvelously stepped up to being the boys’ big brother-role model, more specifically Dustin’s. He was like the Aragorn that the Fellowship of 4 Hobbits were looking for all along. I hope he finds a special someone to anchor him more to Hawkins next season.

Billy deserves a redemption arc next season. He was really misunderstood for the most part and it didn’t help that his own dad seemed to be the source of all the pain and anger that he projected onto everyone especially onto Max. I really thought he’d be like Steve by the end of the season. Plus, it didn’t help that I cringed at the thought of him hooking up with Mrs. Wheeler. God forbid that from ever happening. I will be more scarred than Mike and Nancy will ever be. But I still hope to see his character more next season - be it further into villainy or redeemed (but still a bad ass).

The presence of more “Numbered” children was a long time coming but the season only gave us one gifted individual: “008” or “Kali” as she was called by her posse. Amazingly, El still has even greater potential than what she has demonstrated so far from the first season. And that a Kenobi-like Kali was there to not only give her purpose but help train her in the use of her abilities. I hope we see more of the other experimented children in the next season. It even got me thinking that Will could already be considered one by affinity.

Joyce and Nancy are still badasses! Jonathan softened somewhat despite having gone through a lot last season. It was Nancy who volunteered to use the rifle and not Jonathan who hesitated (ironic that it was Jonathan who taught Nancy to shoot a gun last season). And even much later, it was Jonathan who had the urge to hug Nancy and look away from his suffering brother. Nancy looked on throughout the ordeal and served as the emotional calm and anchor for the Byers throughout the last 2 episodes.

The #JusticeForBarb arc came through in a way that I really didn’t really expect. And through it all we got to see not only Barb’s parents but also the boys’ other families. But it was a fitting closure for both Barb’s parents and the entire town who had to live through an entire year in ignorance of the true nature of the Hawkins Lab… although in alternative facts.

Halfway through watching the season, I felt part of the hype of Season 2 ebb away for some reason. The direction of the plot became fairly predictable with each episode. And it didn’t help that some of the theories and predictions were heavily espoused for over a year through various blogs and fanfics.

So I recommend that you just enjoy all the acting and drama. I, for one, wanted more scenes of Mike and El catching up with each other but the final episode does fill in a nice chapter onto their budding romance. The fangirl in me cannot wait for Season 3 to show how El is doing as a Hawkin’s MS/HS student, Hopper’s daughter, and Mike’s girlfriend - all not necessarily in that order.

#stranger things #season 2 #some spoilers

[scarletjedi]

Number 3, 5, and 16

3. What is your favorite/least favorite part about writing?

I love the little stuff, the fine tuning editing of this word vs that word. It’s like a logic puzzle, and I love the rush from finding the *best* way of saying something. 

I hate proofreading. Endstop. 

5. Top five formative books?

In no particular order: 

1. The Hobbit - when I was a kid, my Grandmother turned to me and said that she thought I was old enough/would like a book that my uncle loved when he was my age. That week, my mom and I found a copy at the church bazaar (it was actually my uncle’s copy--my grandfather had donated it without realizing). I fell in love. (It was also a book that I bonded with my father over, and later my wife.) It’s not perfect, but it subverts a lot of the same tropes that came from it.

2. The Complete Works of Sherlock Holmes. - My mother read to me until I was ten or so, and as soon as I could understand, we switched from children’s books to grown up books, and since my Mom loved Sherlock, she read them to me. (We also watched the Grenada series on Masterpiece Mystery every week). It instilled a love of mystery and British literature that I’ve carried with me. (and was something that I bonded with my mom over). 

3. The True Confessions of Charlotte Doyle by Avi -  This was a children’s novel (Youth novel?) that I picked up because it’s a bout a girl on a boat in the age of sail. It. Was. Amazing. And, stop reading if you don’t want spoilers, it was one of the first books I read that had the girl head back towards danger rather than be happy at home. The last few chapters are her reunited with her family, but she’s changed, she’s different (tanned and calloused and a *sailor*) and she chooses to be true to who she’s become. That was a powerful message for me. 

4. Geeze, um. Sandman, the Neil Gaiman comic series. I read this while I was working at the comic shop (for free :/) and then went out to buy it and re-read it because it was awesome. It was epic in scope and human in detail and beautifully illustrated, and the concept of cosmic figures in human situations is something that has resonated with me. There’s a reason it won the Hugo award, and is the reason that I will read anything that Gaiman writes with faith that it will be a good story. 

5. Transmetropolitan by Warren Ellis. Another series that I read in the store and then started to collect (My collection is incomplete because I started moving on the regular, but hopefully I can finish it soon). Holy. Shit. This was my introduction to cyberpunk and it’s just--raw and bitter and angry but hopeful? The story is about the power of information, and the necessity for truth and honest journalism and the ethics of power, but it’s set in a world that’s just overcrowded with images that push/tear the envelope. I was and angry teenager mostly because people wouldn’t listen to me, and this series helped me recognize how to make people listen. 

16. Cover love/dream covers?

Well, there’s a certain cover that was drawn for me by a certain prompter that I happen to adore (:D) but for published works? I like the new Harry Potter covers. I’m fond of ridiculous romance novel covers (the ones with wind machines and extra hands and shit) and the Epic Gay Two Towers cover. 

My favorites, tho? Leather bound editions with metallic embossing. I have a copy of the hobbit, the collected hitch hikers, and Lamb in that leather finish and they are *pretty*

#ask meme #poplitealqueen