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phoenixtakaramono · 3 years

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So I'm here to say that I really love your Bingyuan fic! The research you do for it and share with us is just amazing! I also have a q regarding LBG. From SV we know that he felt admiration for his Shizun so do you think that if SJ wasn't cruel to him LBG's admiration would've grown into love and attraction like it did in LBH's case for SY? Which then also raises a question: would LBH/LBG fall in love with any Shizun who was kind to him? Or was he just drawn to SJ's type of personality. WDYT?

Hi there, Anon! I’m glad you’re liking the Untold Tale! Thanks for reading! I think it lowkey helps when the story I’m writing (in general) is from a culture I’m familiar with and that I know some of its language nuances (just general Mainland dialect; I’m unfamiliar with Shanghainese, the Beijing dialect, etc etc). So fortunately for me, as someone who is Chinese but was born in the Western side of the world speaking Mandarin to family and friends, emulating the Chinese aesthetic and atmosphere in TUT comes a little bit easier to me than someone who did not grow up with this culture. I bet if I had been raised in China, I would be able to write something even more multilayered and deep but, alas, the youthful rebellious me of the past hadn’t taken my pinyin and Chinese character writing lessons seriously so I can only communicate verbally and understand audibly 😫. It’s very special for us writers in fandoms to be able to write a story of a culture that we actually know and can identify with. But high key it’s been immensely fun injecting some references of things I’ve come to notice from watching period C-dramas and the C-novels I’ve read, and I’ve come to learn interesting things about Chinese history and mythology even I didn’t know! So the story really writes itself.

Shen Jiu (OG!Shen Qingqiu)

To answer your question 🤔, to be honest this is why the SVSSS fandom is great—because there’s so many interpretations of the original source material. That’s why we have our headcanons and fanfictions to explore these many different possibilities. So for me personally, I can see it happening both ways: *1) LBG does develop a crush/falls in love with SJ, or 2) no matter how SJ treats him LBG regards him respectfully or coldly. I think Possibility 1 is more likely, since SY transmigrated into SQQ and we saw what happened with “Bunhe.”

Now, mind, for Possibility 1 to be more likely to happen, the SJ in PIDW will have to undergo a massive personality change/ a change of heart/ develop a good conscience and will need to clean up his image aka clear up the massive misunderstandings from PIDW canon (like him being mistaken as a pervert for Ning Yingying, visiting whorehouses, killing LQG, etc). It’ll be difficult though considering who Airplane has changed SJ into for his stallion harem novel (reading through SVSSS, my impression of PIDW besides it being the harem stallion novel is that it sounds similar to a “dog blood plot,” where audiences tune in to see how the villains are brought to justice). I literally have a line from TUT in a future chapter where SY says this about SJ since I will resurrect SJ and bring him into the story for closure:

People like Shen Qingqiu naturally had a set of deeply-rooted values. If one wanted to change them, it’d be easier to just have them reincarnate. (—TUT, ch???)

At his core, he’s a flawed man (which makes sense with the underlying cycle of abuse theory, considering his upbringing and backstory). He’s jealous and petty and prickly. His image is that of a proud and cold immortal. In Chinese terms, he’s the type of character archtype who I can see being àojiāo (definitely not canon characterization; this is just a stray thought that amuses me) in a romantic relationship.

LBH will have to recognize that^, or be in a position where he finds SJ’s caustic side endearing instead. He will also have to be extremely patient with him (although, since the joke in SVSSS is that LBH is an incurable M, it shouldn’t be that hard).

A fun thing about OG!SQQ is that he’s the cannon fodder scumbag villain of PIDW. He’s the reason LBG blackened from a white lotus. And, as you know, villains aka antagonists aka bad boys resonate strongly with people for a reason. That’s why we see a lot of Enemies to Lovers tropes, etc. It squicks me to use this phrase but “the allure of dating a ‘bad boy’ is strong.” SJ is that type of bad boy we could identify as a “fixer-upper project” (ugh, that phrase)—even with the red flags and warning signs—especially for those said to have a troubled past with rejecting neglectful parental figures/ family members/ friends and have have not outgrown their wish to convert that sort of person into a loving, accepting person. When we want something we can’t or shouldn’t have, our desire for it grows exponentially. In fanfiction this is a concept writers and readers can explore safely in a world of the imaginary.

From a Meta Perspective

Although, if we look at it meta-ly, the cold and proud and/or knowledgeable Shizun (teacher/ master) character who comes to know love and “is redeemed” by whomever is the love interest (typically a cute and quirky girl who may or may not have started off as naive to the innerworkings of the Cultivation World and therefore needs an established and mature mentor to guide them) is a very well-known archetype for a reason in Chinese fan culture.

Seeing a terrible person change their ways and try to become a better person because of the influence of the one they love is also a popular depiction for a reason.

It’s almost like gap moe. The crueler and aloof one starts out as (arrogance is a staple), the more impactful the shift is when we see such characters soften their edges.

The draw of the sacred master/disciple relationship is that it’s taboo, so I think it’s fair to say that such a relationship in fiction is a popular trope precisely because of this aspect. From a writer’s perspective, the main appeal is to show that there is someone out there who can cause this respectful figure to lose control (undergo emotional change) and go to great lengths to protect his/her precious person. That precious person also has to fall into the “not like other girls” trope (so they can show the ML a different world he would not have seen the beauty of before). On the other side, we look forward to the point of the story where the love interest has their “Oh” moment and realizes their admiration has somehow shifted into love and attraction over the course of events.

Other Romantic Possibilities

It’s very likely. I personally like the fanon headcanon where anyone with Heavenly Demon blood running through their veins feels a compulsion to “obsessively fixate on one person” (TLJ —> SXY, LBH —> SQQ). Personally I don’t recall if this was canon or fanon, but someone had written something about LBH imprinting on one person in his lifetime on the account of his demon nature. And I like that theory (I think it’s likely more fanon than anything but it’s an intriguing idea full of possibilities!).

For him to fixate romantically on one person, I personally don’t think the prerequisite is just by being kind to LBH (but it probably adds to the person’s appeal). There’s probably other factors that go into this to capture the male protagonist’s eye, such as him finding someone attractive (or passes his own personal standards) and/or having good chemistry with that person. So I could see him being into other Shizuns and whomever else. Personally I also think there is appeal in the unobtainable. It’s one thing to have someone’s affection (see LBG and his harem of 600 wives who definitely aren’t shy about giving him affection), but it’s another to know you’ve earned the affections of someone you really like and respect (especially if it’s someone thought to be unobtainable).

As long as the writer can provide a plausible justification for me to suspend disbelief and they set up events to justify it, I can swallow just about any ship possibility. It doesn’t necessarily have to be SJ’s type of personality. (For example, I read a very good fanfiction before where the writer paired Luo Binghe with Ming Fan. Ming Fan, people!!! And they actually pulled it off! What a madlad! Mind, it’s Shen Yuan who had transmigrated into MF in that premise, but the writer set up events that showed how these two characters came to bond and develop a deep friendship which inevitably had LBH developing a crush on his shixiong. I use this as an example because this is the type of unexpected (crack)ship, but because the writer did their work trying to make it seem plausible, we can only admire their hard work and effort at pulling it off.)

As the saying goes, there are plenty of fishes in the sea! As the protagonist, LBH/LBG can have many OTP possibilities with just about anyone as long as the writer can make it plausible. It’s all about the character development and the story/ central themes they wish to tell with the ship!

(Note, these really aren’t hot takes, lol. I’m just having fun answering to this casually from the perspective of a writer. Thank you for your Ask, anon!)

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traincat · 3 years

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I feel like I've read a ton, but I'm honestly still pretty new to comics rn. That being said... What is one more day? Ik we don't like it and it happened a while ago, but that's about it [,=

Time for Spider-Man History With Traincat: Highly Controversial Storylines! And that feeling is totally normal with comics with huge canons -- you can read a ton and still have some fairly big blindspots in your understanding of the total picture. That being said, this is kind of a big one, both in terms of Spider-Man history/canon and in terms of how Spider-Man fandom functions. I would say probably no other storyline has had quite as much impact on how the fandom views and interacts with the source material as One More Day/Brand New Day. It's been the Wild West out here ever since it happened. (Which was in 2007, so like, yes, fairly long ago, especially when you look at how Spider-Man canon has evolved since, but in the grand scheme of things, also kind of recent. One More Day is not old enough to rent a car.)

So when people talk about Spider-Man's One More Day, they're usually actually talking about two related arcs: One More Day and Brand New Day. For the sake of simplicity, I'm going to be covering both. For the sake of transparency, I am going to admit that I think One More Day, as a self-contained story, is good, actually. This is controversial! I admit that! But I stand by my stupid opinions on this blog, for some reason. I think One More Day when you examine it on its own, by which I mean you ignore the decade and a half worth of canon that came after it, as a Spider-Man story and as a PeterMJ-centric story holds up under scrutiny and that people who don't like it don't like complicated love stories and might actually throw their own mothers under buses. No offense to the OMD haters. Little bit of offense to the OMD haters. Brand New Day, which is the continuation of One More Day, on the other hand -- largely bad. Very largely bad.

But let's backtrack. One More Day is a four issue crossover storyline that takes place directly after Civil War, during which Iron Man and Captain America got divorced and divvied up the superhero community and Spider-Man made some startlingly bad decisions and made a fugitive out of himself and his family in a manner that got Aunt May shot, and Spider-Man: Back in Black (Amazing Spider-Man #539–543) which examines Peter's actions immediately after Aunt May is shot and ends with him humiliating the Kingpin in front of an entire prison. One More Day consists of Amazing Spider-Man #544 -> Friendly Neighborhood Spider-Man #24 -> Sensational Spider-Man v2 #41 -> Amazing Spider-Man #545. In One More Day, Aunt May is dying, all of Peter's efforts to save her have thus far failed, and, consumed by guilt, he is rapidly running out of time. Approached by Mephisto, a literal demon from hell, Peter is offered a deal: Aunt May will live -- and Peter's identity, which was previously revealed to the world at large during Civil War, will once again be hidden from the memories of all but a select few -- if Peter trades him his marriage to Mary Jane. Peter and Mary Jane struggle with this, but eventually both agree to the deal. The clock strikes twelve, the deal is done, and Peter and Mary Jane's marriage fades into history.

(ASM #545) A reasonably simple premise for a story that caused so many problems -- most, I would argue, not actually the original story's fault. So obviously, this was an unpopular move -- Peter and Mary Jane had for a long time been a fan favorite Marvel couple, and in a fictional universe where most relationships are doomed as soon as they begin, the enduring Spider-Marriage was sacred ground. And then, with a snap of its fingers, it was gone: Peter wakes up in Aunt May's house, no longer married, with Mary Jane out of the picture. (She would not return to the book on any sort of consistent basis for over 50 issues.) In the wake of One More Day began Brand New Day, which is basically what it sounds like: a promised "brand new day" of "exciting" Spider-Man content and a publishing schedule where Amazing Spider-Man came out three times a month. (Which sounds good on paper but I think in practice caused more problems than it created good storylines.) Peter, newly single again, had new love interests! And also Harry Osborn was alive again for some reason! I generally like Harry's post-BND stories so that part's fine with me.

But overall? Brand New Day is a mess. It knows it wants to tread new and exciting ground with Peter -- tell new stories! ensnare new readers! make them fork out for a book three times a month. -- but it doesn't know what those stories should be. Readers who were invested in Peter and Mary Jane's relationship -- a major facet of Spider-Man comics for decades at that point -- felt rightfully betrayed that the marriage could be so easily traded in and that Mary Jane herself, perhaps the second most important figure in Spider-Man comics after Peter, could be tossed aside. From a personal point of view, I think Brand New Day fails in large part because it abandons what has always made Spider-Man such a compelling series, and that's the mix of Peter's personal life with his vigilante life. BND sees Peter with new friends, new jobs, new love interests, etc -- it is very much a brand new day! But it isn't a better day compared to the stories that came before it. I do like some post-BND stories, especially American Son (ASM #595-599) and Grim Hunt (ASM #634-637), but compared to pre-BND where I think the majority of canon is good, it's a very lacking body of work that is hurt by the way it divorced itself from the PeterMJ marriage as Spider-Man's central relationship.

"But Traincat, I thought you said you liked One More Day?" Yeaaaaah. I do. This is why I keep saying I like One More Day on its own merits, and not on the merits of the stories it opened the doors for. I like a good romantic tragedy in fiction, and the way Peter and Mary Jane's final scene in One More Day plays out is beautiful. I like the idea of Peter caught in this impossible situation, being asked to choose between two women he loves more than his own life. A really common criticism I see leveled against One More Day is that Peter should have chosen his relationship with Mary Jane over May's life, which is -- okay, I think it's weird that people keep insisting on this, not in the least because by asking Peter to sacrifice his aunt's life they're essentially demanding he commit a callous, out of character act in order to further his own interests. It's also weird because the thing is, Peter already chose Mary Jane over May -- that's what gets them into this situation. It's literally in the scene where May is shot:

(ASM #538) When the gun goes off, Peter's spider-sense kicks in, and he covers Mary Jane, leaving May in the path of the bullet. He does choose Mary Jane over May, regardless of whether he realized what he was doing. And that's why he can't make that choice a second time. His actions in One More Day do make sense for him as a character, whether or not any individual reader likes them, and Mary Jane's actions make sense, too -- after all, she's the one who ultimately tells Mephisto that they agree to the deal when Peter can't bring himself to voice it.

A lot of people also like to nitpick One More Day by going, well, why could (x) or (y) with life saving powers save Aunt May which is like -- yeah, I guess, but if we're going to ask that about this specific comic book near death setup, you kind of have to do it with every single one, and I'm not going to stake every single moment of comic book drama on whether or not that gold kid from the X-Men was busy at the time. Comics are soap operas in flimsy paper form: serialized longform storytelling that relies heavily on melodrama. Sometimes you have to go with things. Sometimes you sell your marriage to the devil. Stuff happens. That in and of itself doesn't make One More Day a bad story -- and while some people blame the Spider-Marriage's dissolution entirely on One More Day, I think that's a little shortsighted when you look at the history of Spider-Man since the turn of the century. It's clear -- and Marvel themselves have been perhaps a little too open about this -- that Marvel in the past few decades has had trouble with the direction they want to take Spider-Man. They WANTED Spider-Man to appeal to a distinctly youthful audience that they didn't think they were actually reaching -- understandable, considering that Marvel nearly went bankrupt around 2000 and was saved by Ultimate Spider-Man, an out of main continuity series which retold Spider-Man from the beginning and focused heavily on Peter as a teen -- but the problem was Spider-Man in the main continuity was at that point in canon a happily married man who was pushing the dreaded 30 whether or not they wanted to admit that. This is also why Marvel has continually pivoted away from Spider-Man having kids, because they feared that making him a dad would age him too much and make him unrelatable to their coveted audience of Teens. (This is also why almost every new Spider-Man property, especially the live action movies, perpetually stick him back into high school, despite that occupying a very small slice of 616 canon.) So around the year 2000, they started trying things in relation to the Spider-Marriage, which was viewed as a major problem -- after all, what's more adult than being married and liking your wife. First, they had Mary Jane presumed dead. Then, they had Mary Jane and Peter separate. Then, when Mary Jane and Peter had only recently gotten back together, One More Day struck. If One More Day specifically hadn't gone the way it had, it's pretty clear that the Spider-Marriage was going to go one way or another -- it's a little bit of a shame it happened when it did, because OMD is the end of J Michael Straczynski's run, and JMS wrote a really beautiful Peter and MJ relationship. But Marvel as a company and especially editor in chief at the time Joe Quesada viewed Peter and Mary Jane's relationship as a major problem in how they wanted to portray Spider-Man and thought that striking the relationship from the books would allow them more freedom in their portrayal of him as younger and more relatable to their Desired Audience of people who I guess really wanted to see Peter sleep with characters who weren't Mary Jane.

(ASM #546. Younger! Fresher! Less attached! Kissing random women in the club!)

The problem with One More Day has always been in the follow through -- from the content of Brand New Day to the pacing of events to the fact that Marvel withheld key information for such a long time that it allowed misinformation to thrive. After all, what does it MEAN to trade Peter and Mary Jane's marriage to the devil? It altered the events of canon in Peter and the majority of other characters' memories so that the marriage didn't exist, but it left people wondering -- did the relationship as they remembered it existed? How much of Spider-Man canon was altered? And the answers didn't come for over 100 issues of Amazing Spider-Man. One Moment In Time or OMIT (Amazing Spider-Man #638-641), which revealed that while Peter and Mary Jane never got married in the altered canon they did continue their long committed relationship up until just after Civil War, was published in 2010, so essentially readers were hung out to dry without answers for three years. That's a long time to string people along, but not as long as it took Marvel to confirm that the popular fan theory that Mary Jane retained her memories of the original timeline as part of her own deal with Mephisto was also true, which happened this year. I would say, at least from my perspective, a lot of the frustration doesn't come from the individual One More Day storyline so much as how Marvel has continually dragged out the aftermath, using the promise of a Spider-Marriage return to keep fans on the hook. Which is why One More Day continually comes up in discussion of current Spider-Man, because Spencer's run has relied very heavily on imagery from that period with a serious question of whether or not there actually was going to be payoff, something which is still up in the air.

This has been Spider-Man History With Traincat, brought to you by anonymice like you.

#traincat talks comics #long post #*replies

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hamliet · 3 years

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Penny and Death in Fiction

Musings more so than meta, brought to you by frequently receiving asks accusing me of hypocrisy for having different opinions on characters dying in different stories, and as a way of me working out why I feel very, very differently from most of the RWBY fandom about Penny’s death. Obviously this is not to say people can’t have their own feelings or disagree (clearly the majority do disagree) but these are just my thoughts based on how I read death in fiction and the themes/set up or RWBY in particular.

"Anyone can die" and "redemptive death" and "sacrificial death" are overused tropes for sure. But that doesn't mean they never work or never fit. They just are often used as cheap ways to hook an audience (instead of relying on the substance of the story) and/or avoid difficult questions in a story that would demand exploration (like what happens to the mass murderer after redemption?). The oversaturation, and frankly, misuse, of these death tropes almost seems to have led to a sort-of knee-jerk reaction in fandom in the other direction, where death can’t happen at all or it’s bad writing, and I just... I don’t agree.

A story doesn’t need to avoid the topic of death to be hopeful. In fact, to many of us, it’s comforting to see grief on screen and to be encouraged to grieve.

SnK’s main theme is “the world is cruel, but the world is also beautiful.” We see that death is one of the cruelest parts of the world from the very first chapter, with Carla’s death. And yet, we’re shown that risking lives for a greater cause--the Survey Corps in the opening pages--is a part of that beauty. So, while SnK is sometimes very critical of self-sacrifice (Armin, Reiner, and Historia are all suicidal and looking for a hero’s death as a way out), it isn’t always. There’s nuance. Erwin’s and Porco’s and Zeke’s deaths, for example, are framed as moments of heroism because of the desperate circumstances. The circumstances are cruel, but within a cruel world, they were capable of beautiful choices because choice is in some ways all we’re guaranteed; we can’t choose our circumstances. The reason Eren was never going to survive SnK after this turn was because he acted against the main theme, against the concept of choice, removing it for many people, and against the concept of being born into the world being enough to give life value.

BSD is my favorite and probably the most flagrant about redemption and not killing its characters (any main ones so far). But it makes sense when you look at what the theme is--it’s specifically about looking for a reason to live. However, BSD doesn’t avoid death either: all of its characters’ backstories are steeped in death (most are orphans, Oda, Atsushi’s headmaster, etc), and Dazai’s suicidal ideation forces the characters to confront the helplessness of grief and pain without actually killing characters. Our main characters probably won’t die--they’ll find a reason to live--but they still have to deal with death around them, and learn to grieve when appropriate. Death, the high cost of living.

Tokyo Ghoul was probably the most blatantly critical of self-sacrifice, exploring the ways self-sacrifice hurts those around you and was often just a desperate attempt to find a place in the world and assert you matter via a glorious sacrifice. Thus, its main message was “it may not be stylish, but... live.” But even so, characters died all the time in TG and TGre. Grief and learning to carry on in a brutal world where some types of people (ghouls) were forced to kill were major presences in the story. In fact, it seemed to suggest living was a valuable enough premise itself that to keep living even in the face of impending death was beautiful.

BNHA’s main theme is “heroes save.” BNHA has established someone dying as distinctly not saving them (see: the Ending fight, where our MCs literally say that they won’t let anyone die); hence, it doesn’t make sense for the heroes to “save” the villains only to have them die. If you’re gonna reward your MCs for upholding the main theme (you should), they should have their decision matter.

Tonally, RWBY is most similar to BNHA in that they are both fundamentally hopeful, optimistic stories. However, RWBY and BNHA frame death differently because of their particular themes and storylines.BNHA’s premise is based in superhero genre, where death is usually meaningless; RWBY’s is in fairy tales and alchemy--both of which have death as a central tenet. Yes, fairy tales, while we think of them as being very kid-friendly, almost always include an aspect of death and/or loss. RWBY frames death as part of life, BNHA frames death as something that villains utilize to hurt and thus needs to be stopped. For RWBY accepting death is literally the main conflict (Salem's motivation is her inability to do this!) while BNHA saving people from being hurt is the main conflict.

I’ve seen so many takes that RWBY is critical of self-sacrifice, and it is just... not. It doesn’t glorify it, but it doesn’t deconstruct it either. Pyrrha’s death is not a sacrifice; she’s not trying to gain time. She’s just trying to do the right thing for herself, to be the hero she knew she was. Her death is somewhat pyrrhic, yes, because everything still collapses, but Pyrrha’s life--of which her death is a part, not the end--is far from futile. The scene with Pyrrha’s mother at the statue of her shows that Pyrrha’s heroic legacy, her determination to do all she could to stop Cinder even when she knew it was hopeless to stop her--that helps Pyrrha to live beyond her death. I mean, RWBYJNROE are facing the possibility of never being able to defeat Salem, but they’re still fighting, just like Pyrrha.

As for actual sacrifices in the story, Hazel’s death saves the kids. Vine’s saves his friends. Penny’s saves her people for now, but it doesn't immediately solve the conflicts either. Thus, it doesn’t glorify her death or hold death up as a worthy goal, but it does respect her choice and does not frame it as a bad or futile thing (if it was a bad thing, she wouldn’t have saved everyone even if temporarily).

Penny wanted to be a human being; that was her greatest wish, even with the guarantee of eventual death and no guarantee of tomorrow. She always was human, of course, but she wanted to be human in all senses, including the physical as well as the spiritual (which she always was).

Is her resulting death a negative framing of that choice? No, I don’t think so. In RWBY, death is not punishment. Grief is not a punishment. Death is a part of life, and learning to live with death (grief) is essential to a peaceful, healthy world. We see what happens when people cannot accept death and grieve (Hazel and Salem).

Penny’s whole thing was that her choices weren’t respected. She was constantly objectified. Yet choice is a fundamental part of being human, and the repercussions of our choices are a part of that. She wanted to choose. Like with SnK, sometimes all we have is choice in RWBY. It’s one of the gifts of the gods, after all. All they can do is choose to keep fighting, keep trying in a broken world.

Yes, I do think it’s a bit of a valid criticism to have had Penny suicidal a few episodes ago, but she was not suicidal in the moment of her death. She wasn’t hoping to die. She had gotten everything she wanted; she could not be controlled anymore, not in the way she had been. She was giving it her all against Cinder to save her friends and her people; if Cinder hadn’t shown up, she would have just gone to Vacuo. Her final choice was to decide what to do with her power, sometime Cinder could not take from her. And like Pyrrha, she will continue to live on in those she loved--in Winter via the powers, and in spirit with her friends and their memories.

Penny’s death is not a negative thing, but bringing her back against her wishes would be.

#musings #penny polendina #rwby #snk #bsd #bnha #tg

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dallonm-archive · 3 years

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HOW TO SWALLOW MATCHSTICKS | SHORT STORY UPDATES #5 & COLLECTION INTRO

[image description: a pale orange sky with dark orange clouds. In the middle, in white text, reads “HOW TO SWALLOW MATCHSTICKS”. /end id]

Hello y’all! Since I already mentioned this briefly, and I’m in a really good place with it, I thought I’d quickly actually introduce my collection title and talk about what it’s about!

Originally, I was going with the working title “How I Break My Bones”, but I didn’t like that the “I” suggested a singular POV in a title for the collection. Whilst brainstorming titles I came up with the line “I swallowed your matchsticks but you still set me alight” and was like what the fuck, that sounds like a poem line [I didn’t wrote poetry back then :)] but I loved the imagery so I just! Smacked them together! Also matchsticks apparently matchsticks are poisonous and that really enhanced the meaning. Funnily enough, the fact that matches start fires isn’t central to the title; fire isn’t an important image in the collection (except for one story), however burning is? But the burning imagery usually comes from mentions of sunlight rather than actual fire, which I think is very interesting and fitting for the collections Vibe.

I’m letting the collection grow thematically with the stories I write, but the central idea is self destructive behaviour, and decisions that are very very irrational to literally anyone except the main character(s). Some of them get to this from being pushed to their limit, but for others there’s a more continuous sense, that what we see is just part of a chain of self destructive behaviour that’s their normal. Lemon Teeth especially is interesting in that sense because there’s this general idea of “hey how the fuck are these two still alive”, whereas with, Tabby, the narrator is pushed to a limit they’re not even aware of until there’s consequences. The title plays with this idea of self destructive behaviour that’s actually out of defence: someone swallows matchsticks so they can’t be burnt, but the matchsticks poison them (the severity of that is also dependent on how many you swallow! I think my google history is really concerned that I’m eating matchsticks!). Your perception of reality tells you to do this irrational action so one consequence can’t happen, but you snap back into reality and realise the consequence of that action is actually far greater than the original fear, but it’s too late to reverse it. Also! A lot of WLW/femme NB characters is the goal, on the grounds of Haha I Do That.

I try to keep this collection very fluid where all the stories are very individual, but are similar when it comes to core themes and it’s been very fun to develop! I also feel like visually this collection is very orange and red? Do NOT know what that means yet <3 but a lot of the stories are visually very hazy and sometimes dreamy, but the content itself is very dark. I’ve been playing around with this idea of “injecting” haziness into a narrators POV so their perception of reality warps and intensifies as the story progresses and we end up in High Reality Territory. I’ve talked about some of these before, but I’m going to go through the current stories I have in here in their current order under the cut - mainly because I find it very interesting to actually see them all in one place and how they function as a collective, and also to see how much it changes! I also won’t have a taglist for this WIP, as I just use my general taglist for short story updates, so if you want updates then you can join that!

general taglist ; ask to be + or -! @kowlazovdi @avi-burton-writing @ryns-ramblings @kitblogsthings @ezrathings @aetherwrites @radiomacbeth @bijouxs @bookphobe @haldimilks @alicewestwater @bookpacking @shaelinwrites @harehearts @amnestys @onlyganymede @theelectricfactory @write-like-babs @oceancold @veiliza @sidhewrites @wolf-oak @feverdreamwritings @oasis-of-you @coffeeandcalligraphy @cecilsstorycorner @howdy-writes @keira-is-writing @flip-phones

content warnings for the stories in order that they appear: murder (ammonite) / fire (lemon teeth) / car accident (how to relax on class A) / toxic relationships (the name i gave her) / cults (and saturn, too + church mud). nothing is talked about in detail.

Disclaimer: These stories are my original work - plagiarism and any form of copying will not be tolerated.

[image description: two large rocks in the ocean, with waves crashing over them. in the middle, in white text, reads “AMMONITE (LAND’S END)”. /end id]

After finding washed up bones on the beach, Dennis pretends they belong to his missing wife Melody - and as he continues to talk to her, his innocence is brought into question.

This story means a lot to me because it was the first one I drafted post writing hiatus that felt like it actually resonated with the way my writing has changed. It was one of the easiest first drafts I’ve done, and editing is going pretty smoothly as well! I loved playing with the moral ambiguity element and creating this very eerie balance between “cold blooded killer” and “grieving husband” and as the author! I do not know whether he actually killed his wife or not! This is one of three stories that I should start submitting this month.

[image description: a black background with 4 lemons in the centre - 3 whole, one cut in half. In the middle, in white text, reads “LEMON TEETH”. /end id]

A house narrates the night its inhabitants burn it to the ground, and tries to understand the human condition from their toxic, tangled relationship.

I drafted this after Ammonite and it ~sucked~. I went to edit in January because I wanted to submit it to a magazine ( <3 missed the deadline <3) and ended up rewriting the whole thing and it is SO much better. It’s gotten quite surrealist but I’ve never written surrealism so I don’t want to call it that yet? But I mean, some of the imagery + the fact that the narrator is a house experiencing complex thought is v surrealist! I want to fine tune that element more because when it comes to submissions I’ll need to actually determine whether it’s surrealism or not but I’m very excited to because out of all the stories this is the one I want published the most! I love it so much. I loved turning a bunch of wood into a character (they’re so sarcastic and mean?? love it), and Lawrence and Frances are perhaps one of THE most fucked up relationships I’ve written so far <3

[image description: a silhouette of a cat against a dark orange background. In the middle, in white text, reads “TABBY”. /end id]

A reclusive man who’d rather exist as a phantom than a human notices the neighbours aren’t feeding their cat, and is sucked into a world that breaks the stillness of his own.

This is the only story here that has an update post that’s not outdated so you can check out more about this story HERE. In hindsight, I think this is the one that really drove where this collection is going the most; I had a lot of different thematic ideas in my head and drafting this naturally organised my thoughts and highlighted the most important ones to me. This also really helped me figure out the perception of reality in this collection and that’s also a central idea (and one of my favourites to explore). I’ve always said I love writing things that feel hazy, feel dreamy, but this story took that took a new level and I feel there’s a lot more depth now? Tabby felt neither like high realism nor realism, it felt like reality with this “glow” that only the narrator seemed to be aware of. This glow reels the narrator into this dreamlike perception of reality to the point where he can’t distinguish the real world from his perception of it, and ends up doing things that he otherwise wouldn’t do had he had a clearer perception of what’s going on. It’s like dreamy reality: make it insidious! I read back on this draft the other day and I’m really excited to start editing, this is the third out of the 3 stories I’m aiming to get published first!

[image description: a single car in the middle of the road on a foggy night, with bright orange headlights. In the middle, in white text, reads “HOW TO RELAX ON CLASS A” /end id]

Whilst trying to manage a bad trip, our narrator makes an unlikely friendship with the driver who just hit his best friend.

I’m currently drafting this, and will likely make an update post for it soon so I won’t talk to much about the story itself here. But if you want to know how the draft is going: it’s sure going! This is in 2nd person instructional which I’ve never written before and it is very difficult at times but also very fun. I can already tell this is the story that’ll need a lot of fine tuning and editing but I really love the premise and where it’s going. This is sort of an evolution of a short story I wrote in 2019 that sucked <3 but I only got the actual idea for the plot a couple months back. My only complaint right now is I’d like a new title because I don’t like this following the “How to __” structure when the collection already does that.

[image description: A black night sky. In the middle, in white text, reads “THE NAME I GAVE HER”. Below the text is 6 moons in different phases, all glowing yellow. /end id]

A woman tries to see her relationship outside of the rose-tinted glasses the night her and her girlfriend fake their deaths.

I wrote this around October but never finished it, and I think I still haven’t figured out the crux of this story or even how it’s meant to be told but I love it too much to let go and really wanna make it work. This is the first WLW story I wrote that’s like, clearly a WLW couple but it’s not about that, and that meant a lot to me. Like I always knew I could just write WLW characters existing but to actually write that, especially with such emotional complexity and also pain that’s not tied to their sexuality was really freeing for me. Also lesbians really are like “damn I need symbolic imagery in my queer story :/” and just write about the moon like the way this story is JUST a bunch of moon imagery and is also structured around the phases? Very sexy

[image description: the view of an orange and purple sky, with the sun rising behind a darker purple mountain. A tree’s shadow takes up the right side and bottom left corner. In the middle, in white text, reads “AND SATURN, TOO”. /end id]

I haven’t drafted this yet (I plan to after HTROCA) but it’s lived rent free in my head long enough to know I want it in this collection. This story chronicles our main character - an ace lesbian who might not know she’s ace yet?? - as she spends the summer on a commune her parents sent her to and I for one am loving having a second cult-y story to explore (although this isn’t explicitly a cult, it just has the undertones and the narrator makes it very clear how she feels about that). This was originally going to have a romance, but lately I’ve been really into the importance of presenting lesbian and sapphic identities beyond the relationship aspect and the element of personal/individual identity. Like HTROCA, I want to have a full update post on this story one day so I won’t talk much about it now, but I am currently brainstorming it and I’m! Very obsessed with it!

[image description: a close up photo of an eye rotated sideways. The photo is filtered red and repeated and on the left hand side, flipped the opposite way. In the middle, in white text, reads “CHURCH MUD”. /end id]

We’ll pretend I didnt spend the last month talking shit about this title BUT for those who don’t know the origin story of my novel Revelations, Revelations is that it was meant to be a short story for my dissertation that quickly unravelled into what it is now. Since I’d already presented the concept to my advisor, I decided to turn it into a sort of “RR But With An Alternate Timeline/Inciting Incident” where Felix and Dorothy escaped the cult at the same time, at the height of their conflict and it got fucked up REAL quick. It was actually so fascinating because whilst it was definitely intentionally heightened, it felt like I was exploring both of their “dark rooms”, exploring a possibility that they would both happily ignore, but was very much almost a reality. I’m no longer doing Uni this year because of covid (I couldn’t stand another zoom lecture), so I don’t know if I can use this story next year but I really want to turn it into something. I just have to strip the RR elements from it and turn it into its own - my <3 third cult story <3.

And that’s where we currently are! I’m not sure if I’ll do collection driven updates, since I just write whatever short stories come to mind and if they fit then great and if they don’t then great, but I might do one say 6 months from now just to see how much it’s changed. This is my primary WIP this year, as 2021 is the ~year of submissions~ for me and hopefully I’ll be able to share some of these stories with y’all soon!

#short stories #atlastracking #wip intro #how to swallow matchsticks #me introducing my collection after roman introduced theirs i am just a SHEEP!!!!!!

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statusquoergo · 3 years

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Can we talk about how much of the ending montage of the finale was just marvey moments? They weren't even chronological, it was all these other moments with other people (the one clip of Jessica was from the 'How do you know I'm thinking about Mike Ross?' 'Who else would it be?' scene) interspersed with classic marvey faves especially from the pilot, like Harvey just kept coming back to meeting Mike as the thing tying it all together, his underlying theme at the end of his journey was Mike Ross.

p.s. re: the ending montage, it's even more obvious if you watch it without the music somehow

We sure can talk about that ending montage! (Before we get into the Marvey-ness of it all, though, I just gotta say that especially watching it out of context, and especially with the soundtrack muted, Donna approaching Louis at the elevators and then him biting his lip and them holding hands as the doors close definitely reads to me as a Lonna moment.)

So. Structural critique. A couple of things read weirdly about this whole setup; first of all, they cut immediately, and I mean immediately, from Harvey looking...nostalgically? Mournfully? Reverently? at the painting his mother gave him of baby!Harvey watching Lily paint that stupid duck painting to the first clip of the montage, i.e., Mike’s briefcase breaking open at the interview. So this is either a “Look how far we’ve come” overview, in which case I’m confused that it starts off with a reference to Lily, since she doesn’t come up again so the painting has no referential anchor point, and the montage itself doesn’t specifically reference Harvey’s childhood or life before coming to the firm in any way (which isn’t to say it’s not a nostalgic overview, but if so, it’s very poorly arranged), or it’s a commentary on important people in Harvey’s life, in which case it sure is interesting that we go straight from Harvey’s mother to Mike, given that literally the only link between them is that Mike showed up at her funeral to support Harvey.

Getting down to a granular level, the clips in the montage are:

1. Mike crashes Harvey’s interview (s01e01) 2. Harvey lectures Mike about the importance of a good first impression (s01e03) 3. Jessica advises Harvey to support Mike in being himself (s04e02) 4. [Flashback] Harvey and Louis give each other shit right after Louis becomes a junior partner (s02e08) 5. [Flashback] Harvey and Donna's first meeting (s04e16) 6. Harvey invites Mike to come with him to visit Ava Hessington (s03e03) 7. Harvey yells at Mike for not coming to him when Jessica threatened him (s03e01) 8. Mike tells Rachel he’s a fraud (s02e16) 9. General cycle of clips of everyone supporting each other over Harvey’s dialogue that “We’re not just colleagues, or even friends. We’re family.” (s05e10) 10. Mike does finger guns and Harvey swerves out of the way (s01e01) 11. “Life is like this. And I like this.” (s01e10) 12. Mike and Rachel reunite when Mike gets out of Danbury (s06e09) 13. Harvey and Donna make out (s08e16)

And for a bit of analytical commentary:

1. The start of the series and introduction of the premise, this is an obvious choice. 2. An interesting direction; possibly a commentary on Harvey’s general life philosophy, this could also be interpreted as a continuation of the Harvey-Mike dyad established in the pilot being the show’s central focus, particularly when one considers that it comes on the heels of Harvey’s rather...interesting first impression of Mike. 3. Lacking context, this is just an excuse to showcase Jessica in the montage as Harvey’s mentor; with context, it’s easy to interpret as another reminder that the show is centered around Harvey and Mike as a pair. 4. This is a weird moment to choose because while it fits the direction of Louis’s ultimate story line quite well, from struggling in Harvey’s shadow despite his considerable accomplishments to becoming head of the firm, it doesn’t fit in with the other incidents Harvey’s recalled up to this point; this is for the benefit of summarizing the show, not consistency with the direction of Harvey’s thought process. 5. Another moment for the benefit of summarizing the show that comes otherwise out of nowhere. 6. While this gets us back on track with Harvey’s train of thought prior to the Louis interruption, it really has nothing to do with anyone other than Mike and Harvey; in fact, it’s very much about a moment of reconciliation between the two of them. (On the surface, it’s merely circling back around to the Harvey-Mike dyad, but if you want to go full conspiracy theorist, it’s like...an apology to the viewer, or to Mike, that the narrative got distracted for a minute. And that’s an extremist interpretation that I’m not advocating as truth, but it’s also kind of funny, so I’m mentioning it anyway.) 7. Harvey needs Mike. Harvey needs Mike to need him. There’s not a whole lot of maneuverability in that one. 8. The interesting thing here is that the clip stops right before Mike and Rachel kiss. Showing it would require an extra two seconds of footage and could have been fit in, but the way it’s cut puts the emphasis not on them as a couple but on Rachel’s sense of betrayal after Mike’s deception. 9. The first clip of this montage-within-a-montage is of Rachel hugging Louis, which follows naturally from Rachel interacting with Mike as a way to ease the focus from Harvey-and-Mike to...literally anyone else, but also sets up this quick cycle of clips as kind of a catchall for “characters being supportive of one another because they’re not just colleagues they’re also family but also we need to fit in everyone who isn’t Harvey and Mike because this is technically an Ensemble Show™.” 10. Okay what the fuck, there’s absolutely no reason for this to be in here except to emphasize Harvey and Mike’s camaraderie and easy friendship. It’s from the pilot, for crying out loud. 11. This one is a little bit of a wildcard in that it both re-centers us on Harvey and Mike as partners (reading just slightly deeper into things, Harvey hired Mike in the first place in part because he likes taking risks, but also, having Mike around makes his life exciting), and could also serve as another general commentary on Harvey’s life philosophy. 12. Yet again, this is a Mike-Rachel moment that ends right before the Machel part. Mike walks out of the prison gates and Rachel gets out of the car, but they don’t noticeably move toward one another, let alone actually hug. Maybe this is out of sensitivity toward Meghan’s status as the Duchess of Sussex? (Or it’s a liability issue, I don’t know.) 13. This makes sense as a conclusion to the montage because the final season is largely focused on the Darvey narrative, or trying to establish the Darvey narrative, but it also comes out of nowhere in that very little of the rest of the montage has featured Harvey and Donna as a couple, or even a pair, with the exception of their first meeting (which was right on the heels of Harvey and Louis interacting, making it less an intimate start-of-something type of scene and more of a “Hey remember when the show was just about these six specific central characters, well, now we only have three of them left” tag).

In summary: Boy that sure is a lot of Marvey and Marvey-adjacent content for a series of clips that are supposed to be about everyone but are in fact badly disordered and don’t tell much of a cohesive story. Looking back, especially with this legend of episode citations, it really does seem to be a pretty slapdash collection of some editor’s favorite scenes, or more likely Korsh’s; it doesn’t even have a very smooth emotional trajectory, it’s just a bunch of stuff that happened in no particular order. Oh well, I’m sure they had fun putting it together probably.

Thank you for...asking? Well, thank you for bringing this up, anyway!

#marvey #analysis #Anonymous

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discoscoob · 3 years

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"What Loki got wrong – and Doctor Who got right Redeeming a villainous character isn’t easy but the Disney Plus series could pick up a few tips from the BBC’s flagship series.

We all love Loki – the God of Mischief, Lord of Chaos, a wannabe tyrant and murderer with a twinkle in his eye and a spring in his step. So where on Earth (or rather, in the multiverse) did he go during his eponymous Disney Plus series? When Loki was first proposed, I was intrigued to see a Marvel spin-off that focused on an amoral, self-serving character. But over the course of its six episodes, we saw Tom Hiddleston abruptly deliver a reverse heel-turn, transforming a character that had always skirted in grey areas of villainy into a fairly bland, heroic type who just wanted to save the universe.In the final episode, Loki was offered the chance at universal war and chaos, a throne or a quiet home life in the background. The mind boggles that someone who tried to rule the planet just a few weeks before and apparently revelled in disorder would so quickly plump for the third option, no matter how nice his new friends were. .Maybe Loki needs more ‘good’ characters to bounce off for him to play the fun bad boy, as he had in the Thor movies. Maybe creating a Marvel series with a morally ambiguous lead, à la Rick and Morty, was never on the cards. But there was a way that Loki could have redeemed its central character without completely compromising what made him interesting in the first place. In fact, it’s been done before in a different series.A few times over the course of Loki, viewers had compared it to Doctor Who, mainly because of its general time-travel premise (what are the officious TVA except Time Lords with a dental plan?) and especially after episode three saw Loki and Sylvie (Sophia Di Martino) trapped on a dying world. In fact, many commented that Loki did ‘Doctor Who’ better than Doctor Who itself, thanks to a higher budget and bigger stars. (Though did Loki have a sonic screwdriver? I think not. Case closed.)And I actually think Loki could learn something from Doctor Who, more specifically, from a storyline that saw an iconic villain try to change their ways with Cast your mind back to 2017 and Peter Capaldi’s final series as the Twelfth Doctor. A major throughline of those episodes was the Doctor’s attempt to redeem his old nemesis The Master, then played by Michelle Gomez as Missy. Initially reluctant (and not before a few final backstabs), Missy did end up playing the hero, only to be cut down by an alternate version of herself (AKA her predecessor in the regenerating role, John Simm) before she could reveal to the Doctor that she’d finally come over to his side.Crucially, during this process Missy was often as unpleasant, irascible and darkly funny as she’d ever been at her most villainous, regularly still insulting and belittling the Doctor and his friends even as she did gain more empathy and something of a moral code. She didn’t just completely gain a new personality, in other words, and the story was more moving and believable as a result.Of course, Loki is changed by what happens to him over the course of his series – the “journey” he goes on, as Jonathan Majors’ He Who Remains puts it, is needed to put him in the position where he’s willing to take over the TVA himself. But what we see him go through on screen doesn’t feel like enough to justify such a change in the character – or why the show would choose to make him so much less entertaining.If Loki had always been how he appeared in the finale, he wouldn’t have lasted as long as he has in the MCU, let alone get his own spin-off. Make Loki fun again! It probably doesn’t help that we’ve seen an onscreen version of Loki’s journey already which did a better job, with the ‘older’/original Loki’s arc in 2017 Marvel movie Thor: Ragnarok making a much better case for his gradual turn from self-interest to semi-heroism, though still with a trademark blend of arrogance and style (including bellowing “Your saviour is here!” as he rescued the people of Asgard).Maybe it helps that, in that film, he plays second fiddle to Chris Hemsworth’s Thor. Maybe Missy’s story only worked in Doctor Who because she wasn’t the main character, and similarly had the good

Doctor to bounce off (though if someone does want to make a Missy TV show, I’m in).Whatever the reasoning, something still feels a little off about this newly heroic Loki variant. Time for, if not a pruning, then at least a bit of a redirection if season two is going to find its glorious purpose"

reading this article rolling my eyes first off Missy went by a different name, also was not really a redemption of the master but that version of the master e.g missy which still don't know where this version is suppose to happen cause imo missy was the master but unlike the master had more redemptive qualities, wanting to be the doctors friend again/wanting to change but never getting the chance/past version didn't want to change, while this version feels like always on a path of redemption to the be killed off and the master comes back still evil, most likely missy version of the master will never be mentioned again/ never see this version again. also have they watched the Loki show, he literally learns he dies in the future, his stuck in a unfamiliar place by a very powerful organisation, also his self serving persona has always been a façade mostly, people can suddenly want to change which imo Loki hasn't really wanted to as Thor as pointed out about him going round in circles and him never seem to want to change in Ragnarok he was still not really change even though he shown he can be a better person, he also betrayed thor show still self serving. but Loki in the series makes sense his perception would change, his lost him home, his free will, Thor, learns he died/dies, and can't back to his timeline, but find it unbelieveable that Loki whole attitude would change... i think people need to pay more attention/don't really understand Loki, also he is still fun 3 episodes in just because his not acting like a clown and shown to be vulnerable and shown be more genuine and wanting be a hero doesn't mean they completely stripped his personality, hopefully we see his fun personality back next series. the reason he lasted in MCU so long is not just because his fun etc but because his a complex character, if i remember correct his fun personality didn't really come out until the dark world and then ragonorak in Thor he was angry and bitter and avengers was angry and bitter and wanting to rule earth. also we saw his fun personality up until episode 3 as slowly began to stop clowning around and become more genuine through Sylvie, also good friends didn't just change Loki, it was already in there it was a journey he always destined to go down as saw in the films which now some what reset in the series for another journey but thing is Mobius and Sylvie not just better Loki but his also bettered Mobius and Sylvie, also makes sense he change his self serving behaviour as learns even gets the throne or what he thought was his glory purpose he still not be truly happy, just like Sylvie and just like Mobius at The TVA. i feel some just don't really go into who Loki character is or just like his boring now if his not there being smug or clown or him finally actually being genuine = bad telling of redemption ok *rolls eyes*

I 100% agree! Reading that made me roll my eyes too, until I got to your part of the anon, that was a relief to read.

#loki #loki series

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army-of-mai-lovers · 4 years

Text

Why Amon Should Have Been An Android

(spoilers for LoK and Young Justice season 1)

If you followed my LoK liveblog at all you may have noticed that I theorized at one point or another that all four major villains of LoK (Amon, Unalaq, Zaheer, and Kuvira) were secretly robots/androids (the term I used was robot, but the more accurate term would have been android.) Now, with Unalaq it was definitely just because I found him boring, with Zaheer it was to make fun of the fact that he was an Airbending prodigy with zero training, and with Kuvira it was because it was a thing at that point for me to predict that an LoK villain was a robot (and I was kind of right that time!!)

But with Amon? I was completely serious. We never see his face, his cause is stupid (and the perfect way for his programmers to start some trouble in Republic City), and he was able to resist bloodbending, which, if you’ll recall, requires that the victim have blood for it to work. You know who doesn’t have blood? That’s right, androids/robots.

But there’s another reason that I sincerely thought Amon was going to be a robot (android), and it’s the reason I’m writing this. There was something naggingly familiar about LoK to me, and no, it wasn’t that it was a sequel series to ATLA. To me, LoK doesn’t really feel a lot like ATLA (barring, of course, the very poorly shoehorned in fanservice cameos of Iroh, three times, like he’s a recurring character or something.) I struggled to pinpoint exactly what it was, but in my own observations and the observations of other people that I was talking to while liveblogging, a couple key differences became clear:

[ID: an image of Korra from the back looking out towards Republic City, which is shown to have large white skyscrapers, a bay, and numerous smaller buildings. Much of it is obscured by fog and clouds. The city is built in the middle of a sprawling bay. /End ID]

1. the setting of LoK is incredibly Americanized and Eurocentric. While ATLA displays a lot of cultural insensitivity towards the cultures it borrows from in choosing how to depict them, LoK...doesn’t really depict other cultures. Republic City to me felt very similar to how 1920s New York is typically depicted in media, and no setting in the Earth Kingdom or Water Tribe was explored enough to really explore the unique cultures of those settings. While you can tell in ATLA that bryke was somewhat interested in (a vague, exoticized, unrealistic vision of) East Asian culture, LoK is very clearly inspired by America and Europe, with very little else influencing how the setting was depicted.

2. there are no “unimportant” people in LoK. Everybody is related to somebody we know from ATLA (or somebody from ATLA), a powerful business mogul, military, somebody high up in the government, a celebrity, and/or the Avatar. The only character I can really think of that’s an exception to this is Kai, who really does not have much of a role. (I guess you could argue that Mako is an exception but y’know...he was a famous pro-bender for a while there) You don’t just get to meet a regular person living in a village anymore. Every character in LoK has political, social, or cultural power.

These points, put together with the technological prowess of the world of LoK (which is different season to season and sometimes even episode to episode depending on how the writers are feeling that day), made the show feel very distant from ATLA, but very, very close to another show that I have watched and loved. And that show is Young Justice.

[ID: an image, from left to right, of Batgirl, Blue Beetle, Bumblebee, Beast Boy, Miss Martian, Nightwing, Superboy, Wondergirl, Robin, and Red Arrow in the foreground, posing together. Above them and in the background are the adult heroes, obscured in shadow. From left to right, Red Tornado, Aquaman, Martian Manhunter, Batman, Superman, the Flash, Green Arrow, and Wonder Woman. They are all against a gradient blue background. /End ID]

For those not in the know, Young Justice is a DC animated cartoon focusing on the teen sidekicks, proteges, and relatives of superheroes like Batman, Superman the Flash, Green Arrow, Aquaman, Martian Manhunter, and others banding together to form their own superhero team. YJ is set in America, vaguely, with characters residing in cities with names like Gotham City, Star City, and Central City (a naming convention that Republic City fits right into). And as is apparent from the premise, most of the characters you’ll meet in YJ are superheroes, related to superheroes, or otherwise important business moguls, celebrities, or political figures. And while the world of YJ is of course significantly more technologically advanced than that of LoK, there’s more overlap than you’d think. Besides spaceships, teleportation, smartphones, and genetic engineering, there’s really not a lot of tech that YJ seasons 1 and 2 have that LoK doesn’t.

So you may be thinking, “ok Arthur, we get it, you’re a fucking nerd, what does this have to do with robots?” I’m glad you asked! One of the storylines of YJ focuses on the war between rival tech moguls Tio Morro and Professor Ivo, in which they build increasingly sophisticated androids. Ivo’s are pretty much just designed to kill supers, but Morro’s are expressly designed to mirror the human psyche, and desire to be a part of human society. Amon very clearly also desires a community, and does much of what he does to integrate himself into a community of nonbenders where he really doesn’t belong. Further, Morro’s androids are immune to threats that humans are not immune to because they are not made up of organic matter. For example, in season 1, episode 3, Miss Martian attempts to read Red Tornado’s mind, to no avail, because she can only read the minds of organic beings. In a similar vein, Amon was able to resist bloodbending, and while unfortunately that was not because he was an android, it would have made sense given the conventions of the cartoon android genre. I didn’t realize it at the time, but my previous YJ knowledge very much influenced the way I read that scene. The way Amon’s body was animated very much mirrored the animation of Morro’s androids trying to resist their evil creator’s programming.

So, I’ve taken you through the what, the how, but I promised that I’d say why Amon being an android would have been better, and I plan to deliver. First, it needs be remarked that while Amon being an android wouldn’t have made much sense, it would have only made slightly less sense than the canon explanation of Amon being Tarrlok’s secret brother. In fact, I’d argue that, if handled correctly, Amon being an android could make more sense and be more impactful. Here’s how I envision it: android! Amon would be pretty similar to Red Tornado, in that he would know that he was an android and be programmed to help people. He was of course, built by Hiroshi Sato (that man designed and likely built all the Equalists’ weapons he has the range), who sees himself as a sort of father to Amon. Hiroshi tells Amon about the systemic disenfranchisement of nonbenders and how a Firebender killed his wife, and Amon, being programmed to want to help people and to desire participation in human society, decides he wants to lead a revolution against benders. However, an android can’t very well openly lead a revolution (you could add a bit in the backstory episodes about how humans don’t trust androids or something), so Hiroshi and Amon come up with the story that Firebenders burned his face and hands, which is what prompted him to lead the revolution. Thus, his whole body, including his face, is covered, and his followers assume that it’s because the burns are so bad, and they follow him. In the latter half of the season, the krew would uncover Hiroshi’s involvement with the Equalists, but Asami would be the one to realize that Amon is an android that Hiroshi built. Amon being Hiroshi’s “son” of sorts would be another element of Asami coming to terms with the evils of her family, as Amon in this case would be a machine programmed to be easily manipulated to follow Hiroshi’s cause and would consider himself her brother, and she would have to reckon what to do with both of them. The nonbenders’ cause would still be legitimate after Amon was exposed as an android (unlike it is when the literal figurehead of their movement is also antithetical to their movement) and the heroes would have to reckon with the realities of bender supremacy and the hurt it caused. Amon could even get a redemption arc and work with world leaders to make a better society for nonbenders and androids like himself (I’m sure there’s some parallel you can draw between nonbender oppression and android oppression, though I can’t think of one atm) As an added bonus, Amon wouldn’t be able to bend, so he couldn’t bloodbend Korra, which would be one less time that an LoK villain took away Korra’s bodily autonomy. Amon could even be a recurring character in the later books, because really, wouldn’t LoK have been more fun with a newly-redeemed android sidekick still learning about what the world is outside of his creator’s narrow worldview? Plus, that would give Asami more to do in books 2 and 3 than meet Varrick and participate in love triangle drama (Amon is of course replacing Varrick’s presence on the show), and getting to know and bond with Amon could be the catalyst for her visiting her father in prison in book 4.

Remember, I didn’t claim that this would be good, I claimed that it would be better, and since the bar was on the ground with that secret brothers twist that wasn’t too hard to accomplish. tl;dr bryke are cowards, take the plunge and make him an android.

#still don't understand why bryke cut pro bending after b1 #it was genuinely brilliant #i know amon's not a bender but i would want him to be involved in a pro bending storyline post book 1 somehow #longpost #meta #ehhhhh is this a meta tho?#genuinely kind of a stupid meta but once my brain made the republic city star city central city gotham city connection this genuinely #would not leave my brain until i made it #amon #lok #idk honestly i feel like what i wrote is actually more thematically appropriate for an atla sequel series #like found family and redemption and that junk #plus asami could potentially get an arc #if i were writing it she'd get an arc #well generally if i were writing the show asami would get an arc but also specifically with this android thing #tbh if you ask me how much of this is a joke i couldn't even tell you #it is a thing that exists and you can interpret it as a high effort joke or as sincere #it's 2020 cringe is dead

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cheryls-blossomed · 3 years

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Am I completely misinterpreting everything?

https://twitter.com/ababyish14/status/1391082013751402497?s=21

No, if you read through OP’s thread, she acknowledges that Joe’s story-line is premised on the injustices towards metas, particularly towards Frost. She acknowledges that whatever life-changing decision Joe might make (I think she’s thinking along the lines that it’s going to be reform of law enforcement) is still premised on the victimization and martyrdom of a white woman, who committed brutal crimes. She also talks about how she wishes though that the show did focus on race more and that they should have in this arc. She makes some good points in the thread, so it’s worth reading through.

But, she and I fundamentally disagree on the fact that this story-line should/should not be premised on anti-metahuman sentiment, essentially. Her point is that that’s not a bad way to segue way into Joe actively wanting to reform, whereas I think it’s incredibly problematic for the show to premise Joe questioning law enforcement for the first time based on the victimization of a white woman, whom he goes above and beyond to vouch for.

This show has always been copaganda. So for this to be the moment where Joe questions law enforcement is inherently problematic. Even if Joe quits being police captain and completely condemns the police force (if the show actually is brave enough to do the right thing and say ACAB), it’s still premised on anti-metahuman sentiment and centers a white woman who was put in jail and who was dealt, from Joe’s perspective, an unjust punishment. Joe views what happened to Frost as unjust and that’s what sparks this change in him. That’s a huge problem to me, because it centers whiteness in Joe’s arc about wanting reform.

On top of that, the show completely ignored Patty Spivot’s police brutality, refusing to in any way condemn her, even though her entire reasoning for becoming a cop was murderous vengeance and that she shot unarmed people in the chest. Mina Chayton was branded a criminal (by the same woman who destroyed police property and obstructed justice to get her “sister” off the hook last episode) for trying to take back artifacts stolen from her people. Nobody thought to condemn law enforcement or government institutions when Mina was branded a criminal; rather, Ralph got a whole white savior arc that completely sidelined Mina.

And even if we accept anti-metahuman sentiment as being what necessitates change for law enforcement, this is just a ridiculous premise when 1) meta-humans don’t exist in the real world (so it’s straight up offensive to try and parallel anti-metahuman sentiment to anti-Black racism), and 2) Central City literally loves heroic metas and has never treated them differently than non-metas. X-Men this is not. Central City gave Flash the keys to the city and has honored him numerous times. Jitters names drinks after heroes AND villains. Frost, herself, was considered super cool by most citizens in Central City after her stint in Crisis on Earth-X. Central City loved seeing Flash and XS in action together; they didn’t question once that there’s now this other speedster running around with Barry. Central City adores Kid Flash. When XS goes rogue for an episode and was hanging with some not so good folks, nobody in CC was calling for her to be condemned. Iris’s blog was followed so heavily originally, because she wrote about how amazing the impossible is. There literally is no basis, to begin with, for anti-metahuman sentiment in Central City. Frost’s, “You fear us because we’re different,” speech (in addition to being wildly offensive, as she was saying this to a room full of people of color) made zero sense, because it’s absolutely untrue from what we’ve seen. They pulled out the, “metas are punished by having the cure forced onto them,” completely out of nowhere. You’re telling me in a City that celebrates its heroes and has never judged meta-humans harshly, and has treated meta-humans who commit crimes the same way they do non-metas who commit crimes, actually had this extremely problematic procedure of essentially forcing the cure on meta-humans who are held accountable by the law, and nobody knew about it? It wasn’t being reported on? Furthermore, based on the fact that Central City has never shown prejudice to meta-humans (even in the very early days, before they even understood all the changes in Central City as a result of the Particle Accelerator, David Singh was against Eddie trying to create an anti-metahuman task force, and Eddie was only trying to do that out of his own jealousy of Iris and the Flash’s relationship), the governor of the state and the mayor of the city would never allow Kristen Kramer to create this anti meta-human task force. They literally made this dilemma up at the last minute just to tell this story, and it makes no narrative sense.

#anonymous #replies #the flash: suddenly this is x men even though central city has never shown any prejudice to meta humans ever but THEY DO NOW

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grigori77 · 3 years

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2020 in Movies - My Top 30 Fave Movies (Part 2)

20. ONWARD – Disney and Pixar’s best digitally animated family feature of 2020 (beating the admittedly impressive Soul to the punch) clearly has a love of fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it. That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been side-lined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind. The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it. Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day. Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out. Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building. Holland and Pratt are both fantastic, their instantly believable, ill-at-ease little/big brother chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heart-breaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco. The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite environments and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD). Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this was ALMOST my animated feature of the year. More on that later …

19. THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it. Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount. Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a quality ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film. This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack. Getting the cinematic year off to a phenomenal start, it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels. Here’s hoping he’s on a roll again, eh?

18. SPONTANEOUS – one of the year’s biggest under-the-radar surprise hits for me was one which I actually might not have caught if things had been a little more normal and ordered. Thankfully with all the lockdown and cinematic shutdown bollocks going on, this fantastically subversive and deeply satirical indie teen comedy horror came along at the perfect time, and I completely flipped out over it. Now those who know me know I don’t tend to gravitate towards teen cinema, but like all those other exceptions I’ve loved over the years, this one had a brilliantly compulsive hook I just couldn’t turn down – small-town high-schooler Mara (Knives Out and Netflix’ Cursed’s Katherine Langford) is your typical cool outsider kid, smart, snarky and just putting up with the scene until she can graduate and get as far away as possible … until one day in her senior year one of her classmates just inexplicably explodes. Like her peers, she’s shocked and she mourns, then starts to move on … until it happens again. As the death toll among the senior class begins to mount, it becomes clear something weird is going on, but Mara has other things on her mind because the crisis has, for her, had an unexpected benefit – without it she wouldn’t have fallen in love with like-minded oddball new kid Dylan (Lean On Pete and Words On Bathroom Walls’ Charlie Plummer). The future’s looking bright, but only if they can both live to see it … this is a wickedly intelligent film, powered by a skilfully executed script and a wonderfully likeable young cast who consistently steer their characters around the potential cliched pitfalls of this kind of cinema, while debuting writer-director Brian Duffield (already a rising star thanks to scripts for Underwater, The Babysitter and blacklist darling Jane Got a Gun among others) show he’s got as much talent and flair for crafting truly inspired cinema as he has for thinking it up in the first place, delivering some impressively offbeat set-pieces and several neat twists you frequently don’t see coming ahead of time. Langford and Plummer as a sassy, spicy pair who are easy to root for without ever getting cloying or sweet, while there’s glowing support from the likes of Hayley Law (Rioverdale, Altered Carbon, The New Romantic) as Mara’s best friend Tess, Piper Perabo and Transparent’s Rob Huebel as her increasingly concerned parents, and Insecure’s Yvonne Orji as Agent Rosetti, the beleaguered government employee sent to spearhead the investigation into exactly what’s happening to these kids. Quirky, offbeat and endlessly inventive, this is one of those interesting instances where I’m glad they pushed the horror elements into the background so we could concentrate on the comedy, but more importantly these wonderfully well-realised and vital characters – there are some skilfully executed shocks, but far more deep belly laughs, and there’s bucketloads of heart to eclipse the gore. Another winning debut from a talent I intend to watch with great interest in the future.

17. HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed. Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close. And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital. The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent high quality revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed. Every single one of them is also an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III, but the show (and the film) ultimately belongs to veritable powerhouse Daveed Diggs (Blindspotting, The Good Lord Bird) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable third American President Thomas Jefferson. Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals. As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

16. SPUTNIK – summer’s horror highlight (despite SERIOUSLY tough competition) was a guaranteed sleeper hit that I almost missed entirely, stumbling across the trailer one day on YouTube and getting bowled over by its potential, prompting me to hunt it down by any means necessary. The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev. Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong. One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now the host for something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far more insidious plans for Konstantin and his new “friend” than she could ever imagine. This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy. Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to tragically bittersweet, while Bondarchuk invests the Colonel with a nuanced air of tarnished authority and restrained brutality that made him one of my top screen villains for the year. One of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for years to come, and I wish enormous future success to all the creative talents involved.

15. THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my ALMOST horror movie of the year (more on that later) – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since. No such problems with his third feature, though – his latest collaboration with producer Jason Blum and the insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so. Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can. The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, strictly adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped down to its bare essentials and allowed to play out without any unnecessary weight. The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid). Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on. As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him. Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all be in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear. The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a blistering career best that totally powers the whole enterprise, and it goes without saying that she’s the best thing in this. Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film. This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that easily goes down as one of the top action sequences of 2020. Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

14. EXTRACTION – the Coronavirus certainly has threw a massive spanner in the works of the year’s cinematic calendar – among many other casualties to the blockbuster shunt, the latest (and most long-awaited) MCU movie, Black Widow, should have opened to further record-breaking box office success at the end of spring, but instead the theatres were all closed and virtually all the heavyweights were pushed back or shelved indefinitely. Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition into the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself. Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli). The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them. This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action set-piece, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor. Not that there should be any surprise – Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films. That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast. Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’ David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him. This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have. As we looked down the barrel of a summer season largely devoid of blockbuster fare, I couldn’t recommend this enough. Thank the gods for Netflix …

13. THE TRIAL OF THE CHICAGO 7 – although it’s definitely a film that really benefitted enormously from releasing on Netflix during the various lockdowns, this was one of the blessed few I actually got to see during one of the UK’s frustratingly rare lulls when cinemas were actually OPEN. Rather perversely it therefore became one of my favourite cinematic experiences of 2020, but then I’m just as much a fan of well-made cerebral films as I am of the big, immersive blockbuster EXPERIENCES, so this probably still would have been a standout in a normal year. Certainly if this was a purely CRITICAL list for the year this probably would have placed high in the Top Ten … Aaron Sorkin is a writer whose work I have ardently admired ever since he went from esteemed playwright to in-demand talent for both the big screen AND the small with A Few Good Men, and TTOTC7 is just another in a long line of consistently impressive, flawlessly written works rife with addictive quickfire dialogue, beautifully observed characters and rewardingly propulsive narrative storytelling (therefore resting comfortably amongst the well-respected likes of The West Wing, Charlie Wilson’s War, Moneyball and The Social Network). It also marks his second feature as a director (after fascinating and incendiary debut Molly’s Game), and once again he’s gone for true story over fiction, tackling the still controversial subject of the infamous 1968 trial of the “ringleaders” of the infamous riots which marred Chicago’s Diplomatic National Convention five months earlier, in which thousands of hippies and college students protesting the Vietnam War clashed with police. Spurred on by the newly-instated Presidential Administration of Richard Nixon to make some examples, hungry up-and-coming prosecutor Richard Schultz (Joseph Gordon-Levitt) is confident in his case, while the Seven – who include respected and astute student activist Tom Hayden (Eddie Redmayne) and confrontational counterculture firebrands Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Succession’s Jeremy Strong) – are the clear underdogs. They’re a divided bunch (particularly Hayden and Hoffman, who never mince their words about what little regard they hold for each other), and they’re up against the combined might of the U.S. Government, while all they have on their side is pro-bono lawyer and civil rights activist William Kunstler (Mark Rylance), who’s sharp, driven and thoroughly committed to the cause but clearly massively outmatched … not to mention the fact that the judge presiding over the case is Julius Hoffman (Frank Langella), a fierce and uncompromising conservative who’s clearly 100% on the Administration’s side, and who might in fact be stark raving mad (he also frequently goes to great lengths to make it clear to all concerned that he is NOT related to Abbie). Much as we’ve come to expect from Sorkin, this is cinema of grand ideals and strong characters, not big spectacle and hard action, and all the better for it – he’s proved time and again that he’s one of the very best creative minds in Hollywood when it comes to intelligent, thought-provoking and engrossing thinking-man’s entertainment, and this is pure par for the course, keeping us glued to the screen from the skilfully-executed whirlwind introductory montage to the powerfully cathartic climax, and every varied and brilliant scene in-between. This is heady stuff, focusing on what’s still an extremely thorny issue made all the more urgently relevant and timely given what was (and still is) going on in American politics at the time, and everyone involved here was clearly fully committed to making the film as palpable, powerful and resonant as possible for the viewer, no matter their nationality or political inclination. Also typical for a Sorkin film, the cast are exceptional, everyone clearly having the wildest time getting their teeth into their finely-drawn characters and that magnificent dialogue – Redmayne and Baron Cohen are compellingly complimentary intellectual antagonists given their radically different approaches and their roles’ polar opposite energies, while Rylance delivers another pitch-perfect, simply ASTOUNDING performance that once again marks him as one of the very best actors of his generation, and there are particularly meaty turns from Strong, Langella, Aquaman’s Yahya Abdul-Mateen II (as besieged Black Panther Bobby Seale) and a potent late appearance from Michael Keaton that sear themselves into the memory long after viewing. Altogether then, this is a phenomenal film which deserves to be seen no matter the format, a thought-provoking and undeniably IMPORTANT masterwork from a master cinematic storyteller that says as much about the world we live in now as the decidedly turbulent times it portrays …

12. GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter (which even then ultimately proved frustratingly ambitious), others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular. It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended. Thankfully the film itself was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats. Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed “Greyhound”, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command. As they cross “the Pit”, the most dangerous middle stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German submarines that begin to pick away at the convoy’s stragglers. Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining its tension for the remainder of the trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load. Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind his similarly unflappable in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn. Relentless, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick. I’m so glad it made the cut for the summer …

11. PROJECT POWER – with Marvel and DC pushing their tent-pole titles back in the face of COVID, the usual superhero antics we’ve come to expect for the summer were pretty thin on the ground in 2020, leading us to find our geeky fan thrills elsewhere. Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and The New Mutants just got shat on by the studio and its distributors and no mistake – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it. New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you don’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot. Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, a police detective who uses his power of near invulnerability to even the playing field when supercharged crims cause a disturbance. Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it. This is a fun, gleefully infectious rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of the DCEU’s oft-delayed, incendiary headline act The Batman) takes the story in some very interesting directions and poses fascinating questions about what Power’s TRULY capable of. Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose pyrotechnic “gift” really isn’t all it’s cracked up to be. Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated cinematic fun I had all summer. Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …

#onward #onward movie #The Gentlemen #spontaneous #spontaneous movie #hamilton #hamilton movie #sputnik #sputnik movie #The Invisible Man #Extraction #extraction movie #the trial of the chicago 7 #greyhound #greyhound movie #project power #2020 in movies

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popsiclemania · 3 years

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My 2020 in K dramas (+1 J drama)

I began watching k-dramas in 2018 but I’ve never watched as many shows, Korean or otherwise, as I have in this one. 2020 ¯\_(ツ)_/¯. I think what helps me really enjoy this over Bollywood+Malayalam+ American pop culture I grew up with is that a smirk on the wrong character’s face doesn’t make me seethe with rage and want to burn everything down. It’s not like growing up with SRK on screen and then having SRK wannabes leave you with lifelong trauma in reality. I can just move on. It’s removed enough from my everyday life but still familiar in a generic Asian family way. Does that make sense? It’s not perfect and it’s not free of its own harmful stereotypes and narratives, but there’s enough of the good stuff to make you stick around. This year I fell in love with Nana, Kim Hye Soo, Han Yeri, Park Eun bin, Ahn Eun jin, Kim Bum, Kim Yong ji, Flower Boy’s Go Dok Mi and Search:WWW’s Bae Tami. Cancelled Ji Chang wook (bye). Desperately missed Kim Jae Wook. Had thoughts on Hwang In Yeop, which were mostly heart eyes. Discovered J dramas and fell in love with Cherry Magic’s Adachi.

My year-in-review below:

LOVED

Into The Ring - I am so glad I saved this for a rainy day because it’s exactly the kind of upright citizen shenanigans my unemployed ass needed at the end of the year.

Goo Se Ra thinks the govt should work for the people but that doesn’t mean her own moral compass always points north. Her purpose is to make steady money, and I love seeing her go hard to survive and cobble together what she needs. The thing that really works for me is that she wants to be good, but she isn’t always. And you get to see her be disappointed, upset, embarrassed and hurt from being publicly kicked in the gut as she navigates a job where she appears, on the surface, to be a supremely confident, self-serving, accidental politician. What you see as her naiveté is mostly just her being a regular person in an environment dictated by backhand deals and rich people politics. She gets hit again and again, and you see what it does to her sense of worth to get back up again, how she grapples with her self. And through all this the show is funny?! Se Ra is what writers of manic pixie characters think they are doing and not doing at all. Love her friends, and Jang Hye-jin is *chef’s kiss*!

Hyena - Kim Hye Soo’s Jung Geum Ja is perhaps Se Ra’s older and darker contemporary. Geum Ja is a survivor and will get what she wants and where she wants to, however many hells she has to cross. She’s single-minded about her success, ruthless and has no qualms about bending morals to get the outcome she needs. She’ll never compromise on who she is or justify how she lives, can build people up and also tear them down, but she also knows care and kindness.

I turned to Signal for more Kim Hye Soo but was disappointed in how the first few episodes seemed to shortchange her. May try again in 2021.

(Highly recommend @saltr0se’s fic series which just GETS Geum Ja so well. Fic writers are the best)

Search: WWW (Finished in 2020) - It took me half a year to finish this. I started watching Search in Oct 2019 and raced through the first 6 episodes because I couldn’t take my eyes off the rollercoaster of Bae Tami’s life. And then I had to take a break because it was a little too close to the frenetic pace of my own industry. As @drivingsideways wrote, a lot of Search is premised around ‘patriarchy? who dat?’, which is why watching its politics play out is so fascinating. It’s also deliciously turmoil-y to watch a very clear-sighted, weathered Tami put on rose-tinted glasses for her romance and then frequently peer over them to evaluate whether it could actually meld into her life.

Catch The Ghost - Kim Seonho oozes charm and perhaps Startup was a showcase of how effectively he can be a typical male lead. But Catch is exactly not that. Go Jiseok and Yoo Ryeong have moulded their lives around to meet their most desperate wishes in life and in the process also left parts of themselves untended. There is guilt, pain and need. Now guess who will tend to whose wounds? Their dynamic is electric even when the central mystery flags towards the last few episodes of the show. I really hope Moon Geun Young is doing well and gets more amazing roles soon. She is so good here.

(Highly recommend @melonatures‘s fic for putting that sizzling on-screen chemistry into words. HOW?!) Cherry Magic - Stories about painfully awkward people are my jam and Eiji Akaso gets Adachi’s shy, nervy energy so right. Cherry Magic is straight up just 12 hours of 🥺🥺🥺.

Stranger/Secret Forest - I’ve been devouring the entirety of Agatha Christie’s work this year after Stranger reminded me how comforting murder mysteries can be. I love Bae Doona. I also love characters who don’t get social norms, not always because they are out to flout them but because that’s just not how their mind/brain works. (have to watch S2)

Flower Boy Next Door - Honestly, the opening scene introducing Park Shin Hye’s character Go Deok Mi sold me on this immediately. An introverted, penny pinching copy editor living alone and working from home thanks to extreme social anxiety? Love. All the side characters are a lot of fun and I’ve never loved Kim Seulgi and Go Kyung Pyo more. It’s a warm show, slowly rounding off the sharp edges of every character.

JUST FUN

The Spies Who Loved Me - It’s been a year of disappointing rom-coms and Spies kind of quietly turned it around for me. I want to be the fly on Yoo In Na’s wall as she figures how to play her characters. I’ve only seen her in 3 roles but somehow she always manages to be in character arcs that don’t short change her. Spies could’ve been and sometimes is the regular heterosexual fare, but In Na ups the ante over and over again, coming out on top as the smartest person in the room.

ENJOYED WITH *RESERVATIONS*

I have to watch A Piece Of Your Mind again because I don’t understand how Jung Hae In and Chae Soo bin built SO MUCH warmth and crackling chemistry with barely a kiss. I was iffy about how the whole AI thing started off and the tortured musician plotline (angsty male artists will forever be an eyeroll for me).

Park Min Young is a queen who never disappoints and When The Weather Is Nice is everything you want in a winter romance. My reservation was in how they explore so much of domestic abuse and the complex ways its traumatised the women in this family. I’m ok with the characters having imperfect ways of processing and understanding the violence, I welcome it. I’m not ok with the show dancing around whether the pivotal crime was justified/ self defence (it was).

A lot of dramas did this. I loved Han Yeri and Choo Ja Hyun in My Unfamiliar Family, I didn’t like the free pass the show gave their dad’s abusive character.

Hwang Jung Eum’s comedy style is generally not my thing but she was pretty great in Mystic Pop-UP Bar. But I’m side-eyeing the sanctity surrounding motherhood. Maybe I should read more about babies and Korean folklore.

Hospital Playlist was my comfort watch through June and July. I think its wholesomeness and non-plot writing came at a good time for me. But I noticed then that the throughline for all main characters was moral superiority and hence what I then saw as *wholesomeness*. It’s kind of what makes it a grating rewatch in parts. Plus the real life of misogyny of Yoo Yeon Seok makes me want to push his angelic catholic character off a cliff. (For context, i was raised catholic). I want to continue loving Chae Song Hwa, and for that the showrunners need to stop cornering her with overbearing romantic interests (let that woman breathe! she literally ran away to another city!)

Hospital is good at creating moments of comfort, so much so that I went to watch Reply 1988 after it, but had to drop it coz I couldn’t get into it. Maybe I’ll come back to it next year.

Once Again is what I call joint family propaganda. What it does well is lay bare the mechanics of living in a society that prizes the heterosexual family structure, the loops you have to jump through to hide when you break its rules and what happens when you are found out. I love the characters, their fights, their frustrations. I just don’t love the validation of joint families. (context: i grew up in an oppressive joint family lol). In my au, Nahee and Gyujin don’t get married again or immediately have children, but take the long route to figuring out how to love the person the other is. Gahee is openly dating Hyo shin and her parents have to figure out how to process her success and her romance. Young dal and Ok boon have to learn to stop dictating their children’s lives. Joon sun runs his company from home, so his wife Hyun kyung can work on what she wants. Choyeon, Joori and Ga-yeon go back to being flamboyant AF and the market learns to not judge. Gyujin and Jaesok have to actually work on the relationship with their mother and what sent her into depression. Just a lot of learning involved.

Just Between Lovers was a nice watch, i just don’t get how Kang doo and Ha Moon So’s relationship will survive his constantly simmering anger.

Crash Landing on You was so much fun until the main romance turned angsty, but it gave us North Korean soldier shenanigans and the epic romance of Seo Dan and Alberto Gu that we needed more of.

Tale of The Nine Tailed is probably what Goblin wished it was. I, however, will never be over Lee Rang. (Also, when can gods stop meeting their love interests as babies? Asking for my sanity)

I literally ignored everything in Oh My Ghost except Park Bo Young and Kim Seulgi and it was amazing.

NOPE

Goblin, Dinner Mate, Oh My Baby and My Secret Romance were a whole lot of NO, NAHI, ILLAAA.

I loved hate-watching The King:Eternal Monarch with the rest of k drama tumblr but someone please take away Kim Eun-sook’s access to gigantic budgets and all-star casts.

It was painful to watch Do You Like Brahms squander away its potential but I’m glad to be introduced to Park Eun bin. Age of Youth is next on watchlist.

More than Friends to me is only Ahn Eun jin. Someone give her amazing lead roles asap.

Why did Record of Youth do that to Park So Dam and her clothes? Just why

WANTED TO WATCH, BUT COULDN’T BECAUSE *INTENSE*

World Of The Married, It’s Okay Not To Be Okay, Sweet Home, Extracurricular, Penthouse, Flower of Evil, Lie After Lie

WILL WATCH NEXT YEAR

SF8, Stove League, Birth Care Centre but I’ll start the new year with School Nurse Files coz it looks very good.

#long post #kdramas #review #2020 #A DECADE #Goo Sera’s and Yoo Ryeong’s are the kinds of stories I wish I’d watched through my late teens/early 20s #Jung Geum Ja and Bae Tami are who I’m taking into my thirties.

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waiting-for-ciena-ree · 4 years

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"Parasite" Force Bond Theory

How does the Exile survive Kreia's death at the end of KotOR 2? Throughout the game, the story reinforces the idea that Kreia and the Exile's force bond is so strong that if one of them dies, then so will the other. Astonishingly, after being able to ask each Jedi Master about this problem, the player doesn't even have the option to bring it up to Kreia at the end, when it finally matters. How do we make sense of Kreia's death and the Exile's survival?

I have a personal theory, which comes from trying to understand another of Kreia's deaths: how did Kreia survive being a corpse in a morgue at the beginning of KotOR 2?

This overlooked "death" provides the key to my theory, which is that Kreia functionally died at the beginning of the game when Darth Sion attacked the Ebon Hawk, but she "survived" by attaching her soul to the Exile's. Essentially, Kreia became a parasite, and the Exile became her host. To me, this explains why Kreia and the Exile's force bond is uniquely strong; they are sharing one soul. It also explains why the Exile survives in the end; instead of killing Kreia with a final blow, the Exile simply commands her to "rest now" or "die now," and then Kreia dies of her own volition. Ultimately, all that needed to happen was for Kreia to let go. As a parasite clutching to the Exile's soul, Kreia could not possibly live without that bond, but she could choose to free her host. As the host, the Exile could not forcibly remove the bond, but they could survive losing it.

I'm fond of this theory because I think it's a natural reading of what the game shows us, and because it fits perfectly with how I view Kreia's character and the story's themes. By all rights, Kreia ought to be dead from the start. Both T3-M4 and the Exile identify her as a dead body. But through sheer stubborn will, Kreia clings to life for the sake of teaching the Exile. Furthermore, introducing Kreia as somebody "left for dead" parallels the reading that Kreia was Arren Kae, one of many victims that Revan and the Exile left for dead on Malachor V. Based on that reading, there was already a natural connection between the Exile as a perpetrator and Kreia as a victim. This makes their literal bond symbolically meaningful. Considering that the Exile cut themselves off from the Force to block out the pain of Malachor's victims, it is fitting that one of those victims would return to reawaken the Force in the Exile, in order to make the Exile finally come to grips with the suffering they caused. Another way I'd describe their bond is to liken Kreia to a ghost of Malachor V who is haunting the Exile, and the Exile can't be free of this ghost until they make peace with her. I'm proud of this theory because it ties the game together really well for me.

Why I don't believe Kreia is lying about the Force Bond

Before I go any further, I'd like to address the theory that Kreia was simply lying about the strength of the Force Bond in order to make the Exile do what she wants. This theory is tempting because of its simplicity. Kreia lies about many things to achieve her goals, so wouldn't it make sense for her to lie to you in the beginning that when one of you dies, so will the other? I can't deny that Kreia is a liar, so much so that it is difficult to believe or understand anything she says, even when her words feel true.

However, I don't believe that Kreia is lying about the strength of the bond because both the story and gameplay show that the bond is uniquely and dangerously strong. Near the beginning of the story, the Exile feels the loss of Kreia's hand on Peragus II, and near the end of the story, a dark-sided Exile feels Kreia stab herself on Dantooine. Meanwhile, a light-sided Exile will listen to Kreia describe the Exile's own feelings on Malachor V in loving detail to the Jedi Council, at the story's emotional climax. Both Enclave scenes showcase how powerful the bond is. As you travel, the game mechanics also reinforce the bond's strength in a positive way; Kreia's unique "force chain" ability makes her one of the most useful companions.

There's also the matter that the game's narrative actually makes effort to disprove one of Kreia’s statements: specifically, the Dantooine Enclave scenes prove that the Jedi Council did NOT cut off the Force from the Exile in the past, even though Kreia said at the beginning that they did. Instead, Kreia's statement about the Jedi Council at the beginning becomes a half-truth, or even a kind of prophecy for the Enclave scene, since we learn that the Jedi Council would still cut off the Force from the Exile once they get the chance.

Notably, while the Enclave scene disproves Kreia's earlier statement about the Jedi Council, it reinforces her statement about the strength of their bond, especially if the Exile is dark-sided and Kreia stabs herself. Anyway, my reading is that since the narrative doesn't disprove Kreia's words about the Force Bond, and instead offers clues for its strength, this complicates the simple answer that Kreia was lying about the bond. That's why I take the danger of the Force Bond seriously, and I prefer the simple answer that she's telling the truth.

How the game describes Kreia and death

The game's language about Kreia and death is fascinating to me. I love that both T3-M4 and the Exile identify her as a dead body when they first meet her, and that the Exile even meets her in a morgue. I love that Kreia's first words to the player are, "Find what you are looking for amongst the dead?" When the Exile tells Kreia that they thought she was dead, Kreia answers, "Close to death, yes, closer than I'd like." Just how close to death did she come?

Kreia's introduction of herself is also noteworthy: "I am Kreia, and I am your rescuer -- as you are mine." We already know that Kreia rescued the Exile from the Harbinger, but how did the Exile rescue Kreia? It could be that Kreia is simply referring to how the Exile has found Kreia in the morgue and can help her escape. (It's also a reference to how Luke announces his intention to rescue Leia, Kreia's namesake.) However, it makes more sense to me if Kreia is saying that the formation of the bond literally saved Kreia's life, and that she would be dead without it.

Kreia's annoyance at the Exile looting bodies is mentioned again at Korriban, when she warns the Exile not to disturb the dead lest the Exile provokes the invisible Hssiss guardians into fights. Naturally, respecting the dead is a sensitive subject for Kreia!

Another detail I love about Kreia is her ability to cloak herself from others, to make herself so small in the Force that people like Sion, Mical, Atris, and Jedi Council members can't see her. This ability feels ghost-like to me; we expect ghosts to be able to turn invisible.

Finally, I'd like to talk about two parallel lines from Kreia about her own alleged death.

When Master Kavar sees Kreia in the Enclave, he exclaims in a shocked voice that he thought she died in the Mandalorian Wars. Kreia replies, "Died? No. Grow stronger, yes!"

During the final boss fight on Malachor V, the Exile can ask, "Are you ready to die, old woman?" And Kreia will answer, "I died long ago -- and now the circle is complete. Strike me down, and at last, end this."

These lines from Kreia are two of my favorites in the game because of how they contradict each other. In each case, Kreia takes the opposite position in order to prove her opponent wrong. To say to them, "You thought." To Kavar, who claims that she's supposed to be dead, Kreia insists that she never died; she only grew stronger! To the Exile, who threatens to kill her, Kreia instead counters that she died a long time ago, and so the Exile can't harm her any worse. Kreia's words to the Exile make me emotional because she's in a much more vulnerable position here than when she was speaking to Kavar--here, she is about to die--and yet she still speaks proudly.

They're also brilliant lines for the way they connect Kreia's story to Obi-Wan and Anakin. Like Obi-Wan, Kreia proclaims to grow stronger after death. Like both men acted as though Anakin was dead, Kreia acts as though Arren Kae is dead. Kreia also borrow's Vader's words that "the circle is complete" to describe her relationship with her student.

When Kreia says, "the circle is complete," it's meaningful that both Arren Kae and Traya were also killed in this same spot by their students. Arren Kae was "betrayed and murdered" by Revan, and Traya was "betrayed and murdered" by Nihilus and Sion. Now as Kreia, she turns the tables by betraying the Exile, but instead of killing the Exile, she forces the Exile to kill her on Malachor a final time, on Kreia's own terms. This completes the "circle" of Kreia's deaths.

But I think we can also apply "the circle is complete" to the structure of the game itself. Kreia begins the game as a corpse in a morgue, who then comes to life through her bond with the Exile. At the end of the game, Kreia returns to death, and her bond with the Exile also ends, leaving behind a wound in the Exile's soul.

Final thoughts inspired by Parasite (2019 film)

As I wrap up, I wanted to share how I thought up the name, "Parasite Theory." I had previously called my ideas the "Kreia Is Dead Theory," but I wanted to come up with a better metaphor. Then I started thinking about Parasite directed by Bong Joon-ho.

In this section, I won't talk about any important plot spoilers from Parasite, but I will reference the movie's premise and themes. If you've heard anything about Parasite, you've probably already heard about the movie's themes and the central premise, so I don't think reading this would hurt your experience watching the film. But I'll give a vague spoiler warning for Parasite anyway, in case you want to be extra careful.

Parasite asks, What does it mean to be a parasite? Specifically, it deals with how poor people and rich people develop parasitic behavior in a capitalistic society. At first, it looks as though the movie's central poor family is parasitically conning a rich family in order to survive. But later, when the movie takes a broader look at society, it's clear that a few rich families are parasites that hoard resources away from the many poor families, while also relying on their labor to fund their extravagant lifestyles.

Obviously KotOR 2 doesn't take a deep dive into capitalism, but it does explore the aftermath of war in a thoughtful way which is rare for Star Wars. Even though the central sci-fi conceit of A New Hope is the invention of a planet-killing weapon, the movie doesn't dwell on Leia's reaction to Alderaan's destruction any longer than necessary. The spectacle of war and space explosions usually take priority in Star Wars movies, since they're blockbusters. In contrast, KotOR 2 doesn't even show the initial destruction of Malachor V, and the story is all about the suffering left in its wake. It also makes the stunning decision to have the protagonist be the person who ordered the planet's destruction. In this way, while Parasite explores the parasitic relationships between the rich and the poor, I think KotOR 2 explores parasitic relationships between the perpetrators and victims in a war.

And this gets at why I feel so much sympathy for Kreia, even though she is a manipulator who does horrible things. And it is easy to characterize her as a parasite who is feeding off of the Exile's soul in order to survive. Because when you get down to it, Arren Kae was a victim of planetary destruction caused by the Exile. In their own way, the Exile was also a parasite who relied on the destruction of countless lives in order to end the Mandalorian War. Like the rich family in Parasite, the Exile fed on people's suffering, even if that suffering was so harmful to the Exile that they cut themselves off from the Force.

When Kreia re-awakens the Force in the Exile, she also forces the Exile to confront their parasitic effect on the galaxy, even at the cost of becoming a parasite herself. And the surprising aspect of this is that Kreia still loves the Exile and finds hope in them in spite of the harm they've caused, even to herself. I'd say that the central question of KotOR 2 is something like, "What does it mean to love and honor the people we kill?" A light-side run of KotOR 2 finds hopeful answers to this question, as the Exile's actions help the galaxy heal and the Jedi Order rebuild. Essentially, to love people hurt in the galaxy means putting in the hard work to help them, rather than turning away from them in apathy.

When it comes to Kreia and the Exile's parasitic relationship, one of the messiest and most complex fictional relationships I've ever seen, the Exile can bring a kind of peace of mind to Kreia, but they cannot escape the burden of killing her. In Kreia's view, this is because she "died long ago" and all there is left to do is for the Exile to finish what they started. To kill Arren Kae again, once more, but this time looking her in the eyes. For Kreia, that is the only honor from you that she wants.

#Kreia #kotor #kotor 2 #jedi exile #knights of the old republic #mine #meta #arren kae #This got very long I'm sorry aaahhh

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albatris · 4 years

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Wait that sounds cool tell me more about Bright and Burning Things? (If you want to ofc you definitely don't have to)

:D!!! of course, I can tell you some stuff!!! thank you for the question, I'm happy you think it sounds cool!!

this is not really a super sensical explanation, this is some rambles, as usual

so, this is a short standalone project of mine, it's uhhhh........ hm. something something fantasy comedy something. it's meant to be a bit of a light-hearted adventure, but as it is with most of my more silly stories, it takes a sharp detour into some "oof" territory c':

bits of the premise sound kind of Heavy but silliness and heaviness go hand-in-hand quite nicely I think

the central character is a ghost kid! this kid’s name is Max! the story kicks off right after they die and they’re being ushered onto the bus that will take them to the afterlife. as they are being ushered onto said bus, they’re like “holy fuck wait no” because they have unfinished business in the living world. they got straight-up murdered! their life got cut short! they don’t have any closure! they don’t even know who killed them!! so they make a run for it and go ghost

and like, oh, this happens sometimes. the dead are sometimes quite affronted by the fact that they’re dead and kick up a bit of a fuss when it comes to Moving On. the thing is, souls aren’t really built for Being Ghosts and can’t really survive long out in the living world, so there’s a bit of a time limit on Max’s quest to figure out who killed them and solve the mystery of their own death, since if they stay too long in the living world as a disembodied soul they’ll start to unravel

related, and perhaps more pressingly, is that there’s various agents of the afterlife who are attempting to find them and bring them back and Make Them Move On. these forces take on a bit of an antagonistic role in the story, but they’re not really any malevolent force that wants to hurt Max, they’re just the folks who go after stray and panicked souls and try to bring them to the afterlife before they fade away and disappear completely

Max’s got shit to do, though, like I said

so the story follows Max over the course of one night as they piece together the story of their death and fill in the gaps in their memory, while also attempting to stave off their unravelling for as long as they can

Max becomes acquainted with various other supernatural beings who are on their own time-sensitive quests on the same night, n they form some sort of kinship over this fact and band together to help each other out on their missions

firstly there’s Daisy, stir-crazy thousand-year-old heir to the vampire throne, due to be crowned the next day, who suddenly had an existential crisis and was like “actually vampire society is dull as hell I wanna LIVE”

so she goes out into the human world and robs a pizza store and starts several fights and is like “hell YEAH this slaps” and basically decides she’s just gonna kick up some real chaos since this is her last night of freedom, basically, n she’s gotta make it count

she’s very smart! she knows next to nothing about human society and how to be a normal person though, and if you leave her unsupervised she will attempt to eat marbles

also the structure of vampire society is very convoluted and confusing and full of complete nonsense. it makes no sense to anyone but the vampires themselves, and even then the rest of the supernatural world is half convinced the vamps are just playing the long game with an extremely elaborate prank. their royalty live in an abandoned petrol station? they wear those little paper crowns from hungry jacks/burger king. they take themselves very seriously

also this is the story in which I was really drunk when I was planning it n just slammed some vodka and was like “VAMPIRES COME FROM SPACE NOW” and then sober logan just had to deal with that

ANYWAY

next there’s Hope and Deckchairs, a socially anxious uni student and a socially anxious demon respectively, and the deal with these two is uhhhhh

well, Hope was trying to be a Cool Kid and tagged along with some Cool Kids who wanted to do a demonic summoning ‘cause Hell Yeah That’s Edgy And Cool

and Deckchairs (not named Deckchairs at the time, this is a name that’s adopted during the story) was doing their very overdue demon taxes and stressing over demon finances, n then got yoinked out of the underworld because of the aforementioned summoning

(I think this is generally viewed among demons as a mild inconvenience, sometimes you get Yoinked when you’re right in the middle of something and you just have to be like “ugh fine I’ll just kick up a bit of a ruckus then come back”)

however, when the summoning actually works, the Cool Kids freak out and scatter and in the chaos Hope gets her head bonked on the side of a dresser and fuckin starts bleeding out, and Deckchairs is like “oh fuck I did not sign on for this” ‘cause they’re........ yeah, look, they’re gentle and anxious and not a very good demon, maybe. n so Deckchairs possesses the body of Hope to keep her alive

so now these two are co-piloting a body, and have to figure out a way they can split and return to their lives without Hope dying. however, they’re also being hunted down by

the Cool Kids, who are now all keyed up and paranoid and convinced they’re the heroes of a horror movie n they have to kill the demonic entity they brought into the world

the underworld, who.......... now, I haven’t figured out whether they’re pissed ‘cause they think Deckchairs is committing tax evasion by body-hopping into the human world, or they’re pissed just ‘cause Deckchairs has work to do and they don’t consider one human life to be worth all the hold up

so that’s not great for either of them, but like, yeah, if they can figure out a way to split and be done with it, it’s problem solved for both of them. yeehaw. too bad they’re both nearly too anxious to speak to each other

and that’s................................. all that

facts?

there’s a plot twist at the end that I am SUPER psyched about! and it has taken literally all of my willpower not to spoil it completely

I feel like it’s an easy one to guess, but it’s perfect for the story and the themes and it’s one I’m hella excited about

and this is..................... this is I think the only story of mine where I would say it doesn’t necessarily have a happy ending? like. it certainly doesn’t end in TRAGEDY, but this is definitely a bittersweet ending, it’s got some real sad undertones

it’s the best possible ending for the characters, but like, hey, my protagonist is already dead, y’know?

anyway if you read this far I hope some of this was fun for you :’))

thanks for coming to my ted talk I hope you have a nice day :D

#also worth noting this is the only story within this multiverse that explicitly features my Death character who i named Karen before #''Karen'' became a whole thing but like #there's a network of spirits who act as ''Deaths'' who just kinda cart people to the afterlife #with Karen driving a spraypainted minibus and she's a bit of a hippie she's v fun #bright and burning things

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recentanimenews · 3 years

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Bookshelf Briefs 6/20/21

As Miss Beelzebub Likes, Vol. 12 | By Matoba | Yen Press – When you have a main couple as innocent and naive as this one, it’s going to take a lot of struggle to get them together. Indeed, even figuring out what love actually is is tough for Miss Beelzebub, much less that she’s in love with Mullin. And then, just as she’s ready to tell Mullin how she feels, he’s seized by self-hatred and doubt, thinking she’s far too high a station for him. This leads to her being depressed and avoiding him, which… repeat as needed. Thankfully, they do eventually manage to confess to each other. The series may not end with the wedding on the cover, but this is good enough. It was sickly sweet at times… but that’s why everyone read this series in the first place. – Sean Gaffney

BL Metamorphosis, Vol. 4 | By Kaori Tsurutani | Seven Seas – While the series is based around the premise of a teenage girl and an elderly woman bonding over BL, it’s become apparent that this is Urara’s book. Which makes sense—she’s the one searching for a goal. The creation of the doujinshi is very much an up-and-down process, one which we see throughout this volume. It ends at “Comitia 128,” with our unlikely friends manning their own booth. Sadly, said booth—at least so far—has no actual buyers. Honestly, I would have hoped the sheer oddity of the pairing behind the table would have been a draw, but I suppose it’s hard to look beyond the tables. I think this ends with the next book, so it’s time to binge before the finale. – Sean Gaffney

Her Royal Highness Seems to Be Angry, Vol. 1 | By Kou Yatsuhashi | TOKYOPOP – This seems to be a classic case where I’m really intrigued by the ideas this brings to the table, but the execution is not as stellar. A young woman has it all—powerful magic, her isekai’d-from-Japan boyfriend, and a kingdom who loves her—then it’s all destroyed and she’s killed. When she wakes, she’s in the body of a noble far into her future. Magic is a sad shadow of its former self, and she herself is, essentially, a villainess. Most of the book, unfortunately, then sort of slips into standard shoujo romance, but I like the idea that she doesn’t HAVE any memories of her current self, and has to fake it and deal with everyone’s hatred. I might check out the second volume. – Sean Gaffney

Monthly Girls’ Nozaki-kun, Vol. 12 | By Izumi Tsubaki | Yen Press – It amazes me how this book can still be so funny even after all this time, and I credit this to its central premise, which is that everyone in it is a complete dumbass—but never all at the same time. It’s a comedy rule; there has to be someone to react. Sometimes it’s Sakura, despairing about a relay novel that gets out of hand. Sometimes it’s everyone else in the cast watching the continuing car crash that is Seo trying to get Wakamatsu to recognize her feelings. And sometimes it’s Hori and Kashima, where his confession turns out to be, perhaps appropriately, a giant excuse for drama. These kids are all terrible at life, and are all so endearing, I don’t know what I’ll ever do without them if this ever ends. – Sean Gaffney

Snow White with the Red Hair, Vol. 13 | By Sorata Akiduki | Viz Media – It’s good for you! Builds character! That’s what it feels like most of the first part of this volume feels like, as Shirayuki is off to the North, meaning she and Zen will be spending a long time apart. That said, it’s as much about their little group of five than it is about the couple, as it’s clear Shirayuki is going to miss Mitsuhide and Kiki just as much. And as for Obi… well, the love triangle that dares not state its name comes pretty close this time around. (It’s a well-known fact that a majority of the series’ fans, at least in the West, want her to hook up with Obi instead, so the plot twist is not surprising.) All this plus a long, unrelated short story to pad out the volume! Still great, though. – Sean Gaffney

Spy x Family, Vol. 5 | By Tatsuya Endo | Viz Media – A large chunk of this book focuses on Anya and her difficulties at school—not only is it an elite private school, but she’s a girl who spent her life as an orphan, experimented on and abused, and she’s lied to Loid about her age to seem older. So, needless to say, schoolwork is proving tough. Normally she can get by by using her powers (i.e. cheating), but that doesn’t work during the new moon—which matches with exams. It’s tense, but also leaves us plenty of choice hilarious bits. Elsewhere, Yor attempts to learn to cook, and we introduce a colleague of Loid’s who is obsessed with him and VERY upset she was not chosen to be his fake wife for this mission. Everyone should be reading this Eisner-nominated manga. – Sean Gaffney

Teasing Master Takagi-san, Vol. 11 | By Soichiro Yamamoto | Yen Press – One of the reasons that folks seem to be more tolerant of Takagi than they are of Nagatoro or Uzaki is that, for the most part, Nishikata enjoys hanging out with her, and while he finds the teasing frustrating, it’s not because she’s bullying him, it’s because he’s so competitive. Half the time Takagi doesn’t even need to tease him—he shoots himself in his own foot. Even when he literally ends up fanning her like a queen, it’s on him. And, once again, the fun comes from realizing they already ARE a couple, it’s just he can’t really admit that. The most interesting chapter has one of their friends briefly ponder using Nishikata as a fake boyfriend, but it doesn’t even last long enough for Takagi to ponder jealousy. – Sean Gaffney

What Did You Eat Yesterday?, Vol. 15 | By Fumi Yoshinaga | Vertical Comics – The back cover blurb for this volume says, “A hard-working middle-aged gay couple in Tokyo experience new challenges both at work and at home.” Really, that about sums it up. Kenji has taken over management of the beauty salon and must figure out how to delegate some of his new responsibilities so that he’s still able to have dinners at home with Shiro. Most of Shiro’s story is about his parents, who are considering selling their house and moving into a retirement home. In between, there is some shopping for ingredients, a lot of veggies getting chopped, many burbling pots, and incalculable TBSP of soy sauce. Oh, and also everyone tries not to eat too many carbs, which is extremely relatable. I’m particularly keen for the next volume, as Shiro will be meeting Kenji’s family for the first time. Good, as per usual. – Michelle Smith

By: Sean Gaffney

#Anime #News #Manga Bookshelf

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nullanythorm-ao3 · 3 years

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Just Some Random Fanfic Concepts

So I was going to wait and see if anyone else was interested in me posting up some of my general fanfic ideas. However, I’m bored and struggling to work with the CiM update I’m working on right now. So I’m just going to do it? Also, a heads up to look out for another post coming later, because I want to share some of my Variro YouTube playlist, too. BUT FIRST, story ideas. You’ll get some working titles for the ones I HAVE working titles for, but otherwise I’m just winging it cuz there are a lot of them. These are in no particular order. Things being higher or lower on the list doesn’t mean they’re more or less likely to be worked on.

#1 - A continuation for Land or Sea (title pending)

So a little background on this one. I got the idea for this one at the same time as I got the idea for Trust is Something Earned. I put which one I worked on first up to a vote on the Tangled Amino.

It’s a mermaid(merman/boy??)!Varian AU that centers on the idea: What if, in Queen for a Day, instead of coming up with a solution that created the amber when interacting with the rocks, Varian creates a different one and winds up getting himself turned into a mermaid instead?

It’ll feature 4 OCs: two created by me, and two created by a friend. The perspective will shift between Varian and an OC that belongs to a friend of mine named Charlotte, Varian’s childhood friend and love interest.

Without spoiling too much, it takes place primarily during the events of season 2 (and maybe stretches into season 3). It switches perspective between Varian, who’s sent to live in the ocean after the accident and becomes friends with an adventurous merboy named Caspian who helps him rediscover his passion for science and alchemy, and Charlotte, who’s left behind in Corona and is trying to rediscover her sense of self and direction after losing her best and only friend. Charlotte’s perspective will help show how the premise changes events in Corona, while Varian’s is wholly original.

The other OCs that will be involved in the story will be my OC Adrian Claire, who followers of TiSE will know, and my friend’s OC Henry.

#2 - Stitched Together (originated from Ragdoll)

Okay so the original premise for this was for it to be a Variro story. The focus was Hiro living a double life: a college student in San Fransokyo who realized the existence of the several magical realms that ran parallel to his home after discovering he had magical blood passed down from his mother (maybe even throwing in superhero and making it a triple life - poor Hiro). He finds what’s known in the multi-realm as a living doll - a doll that gained a soul either through devotion and affection of a previous owner and desire to become more human, or having a human soul literally shoved into it.

Varian, his doll, is the latter. Due to crimes against his home realm of Corona and his own uncontrollable magical talent, they forced him into having his soul magically “stitched” into a rag doll, until Hiro’s magical talent allowed him to awaken. However, because of his nature as a living doll, Varian now depends on and is subservient to Hiro, but the two soon grow a bond much closer than expected.

Now, after working on the lore and world of the story, I’ve grown its scope a little. Rather than simply being a crossover with Tangled and Big Hero 6, I want Stitched Together to be a bigger-scale crossover, including How To Train Your Dragon and the Tales of Arcadia series as well.

It’s going to be Hiccup/Hiro/Varian, along with Jim/Claire from ToA being close friends with the trio. They’re all going to be young wizards from different realms, with different magic specialties studying in Arcanum, the central realm that connects all magically advanced realms. Other characters from each series will show up as well! You’ll see a bit of all of them, it’s a pretty enormous project.

#3 - Maybe some Hogwarts Shenanigans?

I’d really like to do a short, maybe 7-chapter story on the Hogwarts Headcanons for the OT3 I did a while back. The big issue is I’m still trying to figure out where I stand on posting Harry Potter/Hogwarts content after the whole J.K. Rowling thing.

It’d be a chapter focusing on each year the three spend at Hogwarts together, some key moments through the years, and things like that. Just a small, random story about some kids at Hogwarts having fun.

Might do it, might not, we’ll see.

#4 - Time Travel Variro Fic (title pending)

This is another one sort of meant to run alongside season 2 of TTS, and maybe s3. It also replaces the S3 of BH6 the series. Just cuz.

Basically Varian escapes after being put in prison, and decides the best way to save his dad is prevent the amber from capturing him all together. Vindictive, feral little villain raccoon decides that if he can’t have his happy ending, he won’t let Raps have hers and plans to make a time machine so he can go back and prevent Eugene from rescuing Raps.

Unfortunately, a slight user error and hiccup in his plans (namely the fact that Ruddiger doesn’t appreciate being left alone and hops in the machine with him and all the noise and flashing lights of a steampunk-medieval time machine spook him) causes him to catapult into the future instead.

Meanwhile, Hiro’s dealing with his friends moving on to find work, his own internship at KreiTech while attending school, and being fifteen and struggling with hormones and his sexuality finally starting to rear its ugly head after being dormant for 15 years of being in an ongoing relationship with SCIENCE (aka he’s seeing guys, thinking ‘he’s cute/handsome’, and he’s PANICKING). Then, as he’s on his way home from internship one day, a random af raccoon tugs at his pants leg until he finds a boy in weird clothes unconscious in an alley somewhere

Varian, after being woken up, and unsure if he should bring up that he’s from the past or not, makes up a fake story about running away from a small town. Hiro, feeling there’s something more but empathetic to Varian’s story, invites him to stay with him at the Lucky Cat and introduces him to Cass.

Varian is stand-offish at first, absorbed in his “pet project”, as he calls it around Hiro. Basically, the machine didn’t time travel with him, he’s stuck, and is determined to get home and continue his plan. Hiro, however, is drawn in by the mysterious boy and tries to reach out to him and open him up.

Varian catches on to modern technology and science pretty darn quickly. He’s a smart boy. He also stays holed up in Hiro’s lab or the room they allowed him to borrow reading all day. Until finally Hiro cracks him out of his shell, he starts attending SFIT, and meets the rest of the BH6 crew.

There’s more to the story than this but that’s all I’m saying for now. Lots of drama, tension, etc, and just a fun time as boys discover their sexualities, learn where they can call home, and all that good stuff.

#5 - In Someone Else’s Shoes (Time Travel Team Awesome Fic!)

So this one is kind of meant to work in tandem with the Variro fic. While the Variro fic explores Varian failing in his plan and getting catapulted into the future, this fic shows the results of what would happen if the time travel worked.

It centers around Team Awesome! Varian travels back to the past, and tells Eugene that he dies if he hides in the tower. He convinces him that he’s his partner in his future, by knowing his name and stroking his ego a bit. But inform him that the crown will lead to nothing but trouble and his death (conveniently leaving out the part where he meets the love of his life and gets brought back from the dead because of a magical healing flower).

The alteration to the timeline erases the former Varian’s existence and overwrites the Varian of the new timeline with his memories - giving him the memories of both the former and current timeline. He wakes up in bed at the palace, being woken up by his personal attendant Flynn (Eugene, who only allows Varian to call him by his proper name when they’re alone) and told to get ready for his coronation as crown prince. It turns out, in this timeline, because Eugene and Rapunzel weren’t there to stop him from his running water experiments, the devastation on Old Corona caused the death of his dad and several others. Since he was the son of an old friend, and they longed for their missing princess, Frederic and Arianna take him in as their son, and monitor his scientific hobby to prevent him from causing more trouble.

Of course, this won’t do. He confides the truth to Eugene, that he was trying to save his dad by returning to the past (but again, keeping out key elements), and the two decide to work together to rebuild the time machine and alter the past without the catastrophic results.

Won’t spoil too much, there are some wild twists and turns here. But it’s one I’m really looking forward to, again!

#6 - Maybe some Percy Jackson/Camp Half-Blood shenanigans

I’d just really like to make some Camp Half-Blood AU stuff. It’d be more a series of one-shots, or just a story that jumps around in time in the course of it.

Crossover with Tangled, Big Hero 6, Tales of Arcadia, and How to Train Your Dragon with a focus on (as usual) Hiccup/Hiro/Varian.

Not going to say too much about it though, because I want to do an AU Headcanons post with some details on this one! I have lots of ideas.Some you might expect, some you might not.

#7 - Hercules Inspired Variro Fic (Title pending!)

So this one is wild. Basically, after the events of BH6 s1, Obake escapes. He stays on the run, escaping to Germany, and finds a young boy of genius on par with Hiro, but in the field of Chemistry, and takes him under his wing.

Varian is distraught after his father, who’d contracted an incurable disease, falls comatose. The government does nothing to help him, even though he has friends that hold political power, and Obake uses that to lure him into becoming his protege.

The pair lie low for a while, wreaking a little havoc in Germany while Varian looks for a cure for his father. The boy dabbles in all manner of fields while trying to help his dad, and before long finds out that the last component he needs is in America, in San Fransokyo.

Varian, now in his early 20s (which means Hiro is too!), Varian travels to America. He’s currently working as a villain under Obake while daylighting as the head of a German medical research company.

He meets Hiro by chance. He flirts a little, but tries his best to keep his distance while trying to achieve his goals. Unfortunately, Obake notices how flustered Hiro gets around Varian, and has Varian continue flirting with and pursuing him as a form of distraction, and confides in him about Big Hero 6 and their identities. Varian is against it at first, but goes along with his mentor.

Varian continues flirting with Hiro, gets in with the group as a friend, and begins distracting Hiro and sabotaging Big Hero 6 while working on a plan to steal the last component he needs for his cure - a solution being stored under high security at KreiTech - where Hiro works, partnered with Krei.

It’s Hercules inspired so there’s a bit more to it, but that’s all you need to know for now!

#8 - Phantom Thief Varian! (Title Pending)

Similar to the time travel one, this one KIND of links with the Hercules-inspired one. It’s not necessarily meant to link narratively or thematically, like the two time travel fics, but it has some similarities.

Namely the fact that Varian came to America after forming a company to research a cure for his terminally ill father. Whether or not Quirin is comatose in this one, I don’t know.

But it’s hard for a small company to get the influence or money Varian would need for his research. So, he steals valuables and rare compounds and materials to fund his research and keep him going, under the name “der Waschbär”, which Google Translate tells me means “the Raccoon” so I’m rolling with it.

He meets Varian in a business meeting with KreiTech, or one of those fancy business parties or something along those lines. They become infatuated with each other pretty quickly (as adults that are more sexually aware, I always picture these two precocious kids being pretty flirtatious when attracted to someone so they just kind of click pretty quickly).

It’s basically the story of Varian, the charming phantom thief who worms his way into Hiro’s life, and Hiro, the superhero aiding the cops in his capture. All while being completely oblivious to each other’s identities and flirting/pursuing each other constantly on the side xD I just like phantom thief stories okay?

#9 - POKEMON!!!!!

Yeah, I still want to do something with these pokemon headcanons

I’m still not entirely sure what kind of pokemon thing I’d want to do. Similarly to the other ones centered around my headcanon posts, it would probably be something I write in short bursts or one-shots and such.

I’m not sure if I want to do something focusing solely on Corona as a region and the Tangled Characters, or continuing the Hiccup/Hiro/Varian that the headcanons focus on.

#10 - The VTuber AU

Yes, I’m doing this! I’ve fallen neck-deep into the VTuber pit, and I love the idea of a VTuber Varian. I feel like his avatar is probably a combined effort between him and Rapunzel, who would probably be the artist behind his character. He’s probably an independent VTuber, streaming on his own with his own model - either because he was genuinely curious about the boom and wanted to try it, or due to the influence of his friends (whether a bet or something along those lines).

As stated in a previous post, I feel like his vtuber character is super steampunk, and probably raccoon-temed. There are a lot of VTubers that use the animal-ear look after all. His VTubing character is super chaotic, and tends to fly solo when streaming.

Hiro is a pretty big gamer himself, but never got big into VTubers. He felt it was just a fad attached to regular streamers, and never really got into watching other people play games, so vtubers make it even weirder really.

He was looking for help getting past a certain point in a hard game, though, and in his search came across Varian(in the fic, his VTuber identity will have a separate name! I just haven’t htought of one yet) streaming the game, and stuck around to see what he did in that part, and wound up staying because he was chaotic and fun to watch. Before long, he realized he was watching clips from previous streams and catching his streams regularly. The others start teasing him about it.

Meanwhile, Varian, who’s recently joined in with the group after having started SFIT the year or semester after Varian (maybe Year, since Hiro can be watching it while the others graduate and start looking for work, since he doesn’t really have any other friends in SFIT so he just kind of falls into it to pass time)

Still dunno how he figures out Varian is a VTuber, and whether it’s before or after they start planning though. I just rcreated this one it has work to do.

Anyway that’s about it. There’s probably a few smaller ones I put off to the side of my brain for the time being that didn’t get added here. I forget which ones I start planning a lot and I almost never write them down, I just plan them in my brain as I go and the ones that stick are just keepers. Hope you like these though! Curious to see what everyone things and which of the ideas the, like, 20 of you that follow me like.

#fanfiction #concepts #fanfic ideas #TTS #Tangled #Big Hero 6 #How To Train Yoru Dragon #Tales of Arcadia

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