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recentanimenews · 4 years

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Bookshelf Briefs 5/19/20

After-School Bitchcraft, Vol. 1 | By Yu Shimizu and Kazuma Ichihara | Yen Press – Afterschool Boobcraft would be a better title for this supernatural romance about Ririki, a ditzy high school student who accidentally discovers that her chemistry teacher is a sorcerer. Though Ririki quickly realizes that she, too, has hidden powers, nothing about her giggly, helpless behavior suggests that she’s competent enough to tie her own shoes, let alone cast a spell. Renji, her teacher, is even less of a character, defined primarily by his brusque demeanor and perma-scowl. Anyone reading for plot will find the the crude, obvious fanservice irritating, while anyone reading for fanservice will find the series’ pedestrian efforts at world-building an unwelcome distraction from the parade of costume failures and panty shots, all of which are drawn in salacious detail. Not recommended. – Katherine Dacey

Animeta!, Vol. 3 | By Yaso Hanamura | J-Novel Club – Miyuki Sanada is making gradual improvement as an inbetweener, though she’s been told that if she doesn’t pass the key animation exam within a year, she’s fired. Meanwhile, her fellow new hire, Maria Date, seems to be leaving her in the dust, is actively campaigning to take her place with the prestigious Studio 7, and gets invited to enter a character design contest by the big boss. I appreciate the sports manga feel this rivalry evokes, but the most compelling part of Animeta! for me is the plight of Yuiko Fuji, the inbetween checker who once tried to become a key animator but had no flair. She’s amazing at her current job, but seeing new talent getting promoted over her is tough. This series has really grown on me, now that its been fleshing out its characters more, and I reckon I’ll stick with it for the long haul! – Michelle Smith

A Certain Scientific Accelerator, Vol. 10 | By Kazuma Kamachi and Arata Yamaji | Seven Seas – Last time I said the cliffhanger was chilling, this time that extends to much of the book. The Index series has usually been too concerned with action and harems to get into pure horror, but its spinoffs have no issues with it, particularly this one. Cannibalism of a scientific sort continues to be the norm here, with our tragic villain continuing to be sympathetic. As is Yomikawa, possibly the nicest character in the whole Indexverse. For those who aren’t reading this for nice, the good news is that Accelerator is back in action by the end of this and ready to beat villains up while continuing to state what a villain he is. Index fans will enjoy this, though may also be creeped out. – Sean Gaffney

Cocoon Entwined, Vol. 2 | By Yuriko Hara | Yen Press – Yes, it is still tempting to review these volumes by just saying “hair” and being done with it. I mean, the start of the second volume seems to be narrated from the POV of a former schoolgirl’s hair, which is now made up of the uniform of our heroine. But there is a bit more to it than that, as we cycle back a bit and get more insight into the mysterious Hoshimiya, whose hair drifting down in single hairlets (hairlets?) continues to be an emotional gut punch for most of the school. There’s also discussion of traditions, why they’re kept and when they might have to be broken for the sake of moving on and fixing things. It’s quite an emotional drama. And rest assured, it’s filled with hair. So much hair. – Sean Gaffney

The Golden Sheep, Vol. 3 | By Kaori Ozaki | Vertical Comics – The third volume of The Golden Sheep is its last, and while it was nice that the four friends at the center of the story ultimately resolved their differences, it all felt rather too easy and anticlimactic. I did like that Yuushin finds purpose in striving to achieve enough independence to live with the stray kitty he rescued, though. (It is an extremely cute kitty.) The volume is rounded out by a twisted short story called “Love Letter” in which an unborn soul chooses to be born to a teen runaway and ends up dying from neglect, but loves its mother so much that it opts to return to earth in any guise that allows it to see her, including another cute kitty who soon meets a tragic end. It left a weird taste in my brain. – Michelle Smith

How Heavy Are the Dumbbells You Lift?, Vol. 3 | By Yabako Sandrovich and MAAM | Seven Seas – The first volume it was the fanservice that got my attention. The second volume it was the advice on keeping fit. And in this one it’s the comedy that’s really reaching out to grab you, taking the series in places I was not expecting it to go, like turning the main girls (including their teacher!) into a muscle-bound idol group, something that is impressively different but goes over like a lead balloon. Zina has fit in well with the others, and moreover she knows Satomi cosplays, so can cheerfully use that for blackmail. There are also hints that romance may come into this series—Hibiki has always been attracted to Machio when he’s not bulking out, but there’s a suggestion that her feelings may run a bit deeper than that. That said, I expect comedy to prevail. This is fun. – Sean Gaffney

Kaguya-sama: Love Is War, Vol. 14 | By Aka Akasaka | Viz Media – The first half of this book is almost all dedicated to Kaguya and Shirogane finally, finally, confessing—not through words, but through actions. It’s the payoff everyone has been waiting for, and it’s handled perfectly. The second half of this book then drags it all back to hilarious comedy, with the chapter about Kaguya french-kissing Shirogane being the highlight of the volume and possibly the series. Of course, there’s the question of where do we go from here—Kaguya ends up breaking her brain so much over this that she reverts to her old icy persona, and there may be a new love triangle developing around Ishigami. So don’t stop reading just because Kaguya got confessed to—there’s still plenty more fun. – Sean Gaffney

My Hero Academia: Smash!!, Vol. 4 | By Hirofumi Neda and Kohei Horikoshi | Viz Media – The gag series has caught up to the main storyline, or at least wants to avoid the Overhaul Arc, so for the most part this volume is original material. Sometimes that’s good—the author shows a surprising taste for very dark character-based jokes when they want to, including one with Todoroki talking about his mother that made me gasp. There’s also a parents’ day again (it goes a bit better than the one in School Briefs), which allows us to see parents we forgot existed, like Uraraka’s mother. That said, there’s also a sense that the series is starting to get a bit tired. The next volume is signposted to be the last, and that’s a good thing. Go out while you’re still flying high. – Sean Gaffney

Nori | By Rumi Hara | Drawn & Quarterly – Born in Kyoto and currently based in New York, Hara has been creating comics for about a decade, but Nori is Hara’s graphic novel debut. The volume has its origins in a series of self-published mini-comics which earned Hara multiple award nominations. Nori collects six short tales of varying lengths which feature the adventures of the titular Noriko, an imaginative three-year-old, and Hana, her grandmother and caregiver. Except for a surprise trip that takes Nori and Hana to Hawaii, the stories are largely set in Osaka in the 1980s. All of them are incredibly charming. Hara effortlessly blends mythology and legends with the characters’ day-to-day lives and Nori’s fantastical imaginings. Some of my favorite moments are Nori’s interactions with older kids—some of whom really aren’t sure what to do at first with a precocious toddler hanging about as they explore the natural world together. Nori is an undeniable delight. – Ash Brown

That Blue Summer, Vol. 4 | By Atsuko Namba | Kodansha Comics (digital only) – Rio Funami is a Tokyo girl who’s been sent, along with her bookish little brother, to stay with her grandmother in the countryside for the duration of her 40-day summer vacation. She’s fallen in love with a local boy named Ginzo Izumi, who initially rejected her, believing they belonged in different worlds and valued different things. However, as time has gone on, Ginzo has come to see that’s not true. In fact, Rio seems enraptured by the village he calls home and understands the calling he feels towards graphic design while simultaneously feeling obligated to stay and take over the family liquor store. This is more than just a generic romance—it’s about passions versus practicality and finding reasons for joy in any situation. I’m enjoying it a lot and isn’t that cover a beauty? – Michelle Smith

Yowamushi Pedal, Vol. 14 | By Wataru Watanabe | Yen Press – The race that would never end has ended! And yes, our hero manages to capture first place, The first half of the book is really fantastic, showing off how good the author is at wringing drama and emotion from every last meter. The second half pales in comparison mostly as it’s setting up the next chunk of book, though seeing Onoda suddenly fail so hard simply as his mentor has left (transferred to another country) is poignant, and I suspect he needs another race or two before he can get back into form, so I expect more failure. Oh, and Kanzaki shows up briefly to remind us she exists and also help the core team get new bikes that work to their strengths. Still excellent shonen sports. – Sean Gaffney

By: Ash Brown

#Anime #News #Manga Bookshelf

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nancydrew65 · 5 years

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SKAM Austin Season 2 Episode 10 (SEASON FINALE) Thoughts

We’re on the home stretch! Last episode, guys. I am going to be sad to see SKAM Austin go. Despite my misgivings about this season, I think they did an excellent job with the sexual assault storyline and it had several fantastic scenes. I hope SKAM Austin does Season 3 this fall, so that we can squeeze in Zoya’s season before the girls graduate.

Something Else

Are they sleeping on a couch? OK, not important.

I would have liked to linger on them sleeping a bit longer. In OG, this scene was so long, but it really gave you a feel of Noorhelm’s dynamic as a couple. You know, when William wasn’t acting like a total douche.

Daniel apologizes for his brother’s awful behavior which like, yeah, good… BUT dude, apologize for your own messed-up behavior too. This is one of the things that pisses me off the most about this character. He treats his girlfriend like shit when she tells him she may have been sexually assaulted and then he NEVER apologizes for it.

Grace proceeds to tell Daniel about her boyfriend back in Dallas. It is pretty much the same story as Noora’s. Daniel is very understanding about it which I appreciate. At least he hasn’t been like William, who basically disregarded Noora when she said she didn’t want to have sex.

For the most part, I actually really enjoyed this clip. I like that we got to see the conversation between Grace and Daniel about Grace’s past.

Future

Grace and Daniel are chilling as Grace finishes up her essay. It is too late for the deadline, but it did her some good just writing.

Daniel gets a call from Jo’s dad, his lawyer. If he gets charged, he might lose his scholarship and get jail time. Good job, SKAM Austin in actually providing stakes for Daniel. He has something to lose by telling the truth in this situation which will ultimately make his decision to do so that much more mature.

Grace asks if he is going to lie, and he says maybe. He has to think about his future.

Life in Italics

Grace and Daniel are going to Marlon’s band’s concert. On a Sunday? What?

They bump into Shay and Megan finally apologizes to her. Thank god. Shay tells her that Nic didn’t break up with her (Yay, Nic’s actually a good guy!) and she is sorry that she blamed the end of that relationship on Megan. This was a weird scene. I’m not quite sure what to make of it. Are they hinting at Megan/Shay? But then they mentioned Marlon again, so I don’t know.

The band performs. They have an… interesting sound.

Eve shows up and mentions that Shay is hot. Forshadowing for Shay moving into Grace’s house?

Can’t With You

I’m not quite sure what the girls are doing, but I think Jo is studying for an exam, perhaps?

Megan is sad that they have another pointless year until they graduate and… same, girl.

The girls tell Grace they are very proud of her for writing the essay and posting it online.

Kelsey says that her favorite line is: “Being brave is telling the truth to the people you love.” I’m guessing that alludes to Grace being brave enough to share her sexual assault with the girls.

Jo storms out right after that and Grace goes to follow her. She asks what is wrong.

Then we have this beautiful, original scene courtesy of SKAM Austin. Jo tells her that Grace can always count on her in a crisis and that she didn’t want to bring up anything before because Grace was going through a rough time, but now Grace is doing better and she has to get this off her chest. Jo is angry that Grace lied to Kelsey for over a year about the whole Daniel situation. She knows Kelsey forgave Grace, but she isn’t ready to do the same. I love Jo so much and I am infinitely glad they gave this speech to her. GIVE JO A SEASON!!!!!! I think this scene addresses a glossed-over aspect of Season 2, namely Grace’s treatment of Kelsey. In my opinion, Kelsey forgave Grace very quickly and that is OK, I am all for girls getting over boy drama between them. However, it never really felt like Grace’s behavior was ever addressed as being very wrong. I think SKAM Austin overall has done a really fabulous job with this topic. I loved Kelsey’s speech (it was my favorite out of all the Vilde’s) and I love this scene. It shows what a true friend Jo is to Kelsey and I am here for it. I think Grace really needed to hear this.

What Happens Now?

Grace is waiting outside the courthouse for Daniel (in a gorgeous outfit, I may add).

Side note: I feel like in Season 1, Grace didn’t really have Noora’s distinctive style (which I really liked!), but in Season 2, they really emphasized Noora’s style in her. I feel like it made her less of her own character, so I wasn’t a big fan of that choice. (I still think all her outfits are really cute, though.)

Daniel tells Grace that he told the truth. He couldn’t get her voice out of his head. This is the moment where this character gets the most character growth. Dare I say, the ONLY moment he gets character growth? And I really like that, obviously. (No one is campaigning harder than me for the William character to be a good guy). However, this is Grace’s season and I wish she had her own moment of growth in the last episode, like Eva and Isak and Sana did in their own seasons. This is the one season where I feel like the main character doesn’t really grow as much as she could have, given the opportunity. And that is my main problem with Season 2 as a whole. It makes me very sad. Noora/Grace deserves better.

Losers

The little banter between Zoya and Grace about history class was so cute! I’m gonna miss these beautiful women.

Zoya says she kept her locker because she wanted to remind people that what happened to her was not normal. She and Grace talk about letting go of anger and getting closure. “Maybe closure is not getting closure” Zoya quotes. OK, be existentialist, girl.

Kelsey and the other girls come bounding in, handing Zoya and Grace pink fanny packs with the word ‘SENIOR’ on them. Nice.

Kelsey talks about how good carbs are for a person and how she is done beating herself up about her weight. Yes!

Then the girls go in for a group handshake. Go Los Losers!

Ready

Grace and Zoya are chilling at the party for Daniel, when Hunter approaches Zoya. Why? Why do we have to spend even another minute on this storyline? Just let it die. Please. Hunter is still a jerk, Zoya is still way too good for him. Luckily, it seemed like she was not taking his shit.

Marlon and Megan are making out. I really wished they had kept this couple apart. I haven’t really seen much on Marlon’s part showing that he has grown since his past relationship with Megan.

Jo sees a boy and quickly runs away. Grace follows her to the bathroom. Nice callback to earlier in the episode with the Grace and Jo scene that mirrors this one.

Side-note: Grace’s dress is so pretty and I didn’t realize how short it was until she ran after Jo.

Aw, I think it’s so sweet that Jo doesn’t want Grace to go get Kelsey because Kelsey is having a fun time and she doesn’t want to ruin that for her.

So, Damian (the guy Jo has been texting) just showed up. He lives 4 hours away! While I appreciate the gesture, a heads-up would have been nice for Jo. How does he even know where she is? Like, it’s not her house.

Grace does a great job of calming Jo down and giving her a pep talk. I think their friendship is reaching a better place.

Jo and Damian hit it off after a bit of awkward banter. He seems like a cool dude.

Grace and Daniel go to her room. Daniel asks if she’s sure she wants to have sex. Yay! She nods, and he asks: “So, I don’t have to keep asking?” Why did they put that line in there? It’s not like he’s really been asking her to have sex. It just makes him seem like more of a jerk.

I really enjoyed how they played the rest of the scene. It was much more awkward when Grace and Daniel were about to have sex. It was more realistic IMO.

In between the sex scene, they spliced shots of the party. Pen Joe looks rather jealous of Damian flirting with Jo. Hmm, this is a new development.

OK, Eve seemed to be hardcore flirting with Shay. She also said earlier that Shay was “hot”. Are they making this a thing?

Grace and Tyler have a bit of an awkward conversation before Grace goes off to her friends. Then we see Tyler take a drink out of his cup. His fingernails are painted green! So, people were right when they thought Tyler was Green Nails. Wow, I still don’t know if it was him in the bed with Grace and Clay because I think Grace would have recognized him. That also calls into question whether Tyler was telling the truth about what Clay did or did not do that night. I have so many questions! But this ending does seem to hint that Season 3 will be about both Shay and Tyler. I am not completely opposed to that, but it sure does make me feel so much more grateful that we got Cris’ season in SKAM España. This fandom needs more wlw love.

General Thoughts

Well, here’s the end. Another season of SKAM Austin over. I hope they don’t wait another whole year before releasing a new one. I liked this episode a lot. There wasn’t a whole lot of Daniel being a dick, so that was great! Overall, I think SKAM Austin has had a few stellar scenes this season that really brought the level of this show up. My favorites were Kelsey’s monologue when Grace finally tells her about Daniel, Grace confronting Clay about the possible sexual assault, and the most recent clip they released with Jo explaining how she isn’t ready to forgive Grace for what she did to Kelsey. I am excited for Season 3!

#skam austin #skam remakes #skam reaction

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sigmalied · 5 years

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Sig’s Anthem Review

Verdict

BioWare’s Anthem is a genuinely fun and engaging experience that sabotages itself with myriad design, balance, and technical oversights and issues. It is a delicious cake that has been prematurely removed from the developmental oven - full of potential but unfit for general consumption in this wobbly state. Anthem is not a messianic addition to the limited pantheon of looter shooters because it has somehow failed to learn from the well-publicized mistakes of its predecessors.

Am I having fun playing Anthem? Absolutely. Does it deserve the industry’s lukewarm scores? Absolutely. But this is something of a special case. The live service model giveth and taketh away; we receive flexibility in exchange for certainty. Is Anthem going to be the same game six months from now? Its core DNA will always be the same, but we’ve already begun to see swift improvements that bode well for the future.

Will my opinion matter to you? It depends. When I first got into looter shooters I was shocked at how much the genre clicked with me. They are a wonderful playground for theory crafters, min/maxers, and mathletes like myself who find incomparable joy in optimizing builds both conventional and experimental by pushing the limits of obtainable resources ad infinitum. The end game grind is long and at times challenging as you make the jump to Grandmaster 1+ difficulty in search of top-tier loot to perfect your build. This is what looter shooters are all about.

If you don’t like the sound of that, you’ll probably drop Anthem right after finishing its campaign. But if you do like the sound of that, you might find yourself playing this game for years.

TL;DR: This game is serious fun, but is also in need of some serious Game & UI Design 101.

I wrote a lot more about individual aspects of the game beneath the read more, if you’re interested. I’ve decided not to give the game a score, I’m just here to discuss it after playing through the campaign and spending a few days grinding elder game activities. There are no spoilers here.

Gameplay

The Javelins are delightful. I’ve played all four of them extensively and despite identifying as a Colossus main I cannot definitively attach myself to one class of Javelin because they’re all so uniquely fun to play and master. Best of all, they’re miraculously balanced. I’ve been able to hold my own with every Javelin in Grandmaster 1+. Of course, some Javelins are harder to get the hang of than others. Storms don’t face the steep learning curve Interceptors do, but placed in the hands of someone who knows what they’re doing, both are equally as destructive on the battlefield.

I love the combo system. It is viscerally satisfying to trigger a combo, hearing that sound effect ring, and seeing your enemy’s health bar melt. Gunplay finally gets fun and interesting when you start obtaining Masterworks, and from there, it’s like playing a whole new game.

Mission objectives are fairly bland and repetitive, but the gameplay is so fun I don’t even mind. Collect this, find that, go here, whatever. I get to fly around and blow up enemies while doing it, and that’s what matters. Objectives could be better, certainly. Interesting objectives are vital in game design because they disguise the core repetitive gameplay loop as something fresh, but the loop on its own stays fresh long enough to break even, I feel.

The best part is build flexibility. Want to be a sniper build cutting boss health bars in half with one shot? I’ve seen it. Want to be a near-immortal Colossus wrecking ball who heals every time you mow down an enemy? You can. There are so many possibilities here. Every day I come across a new crazy idea someone’s come up with. This is an excellent game for build crafters.

But... why in the world are there so few cosmetic choices? A single armor set for each Javelin outside the Vanity store? A core component of looter shooters has always been endgame fashion, and on this front, BioWare barely delivers and only evades the worst criticism by providing quality Javelin customization in the way of coloring, materials, and keeping power level and aesthetics divorced. We’re being drip-fed through the Vanity store, and while I like the Vanity store’s model, there should have been more things permanently available for purchase through the Forge. Everyone looks the same out there! Where’s the variety?

Story, Characters, World

Anyone expecting a looter shooter like Anthem to feature a Mass Effect or Dragon Age -sized epic is out of their mind, but that doesn’t mean we have to judge the storytelling in a vacuum. This is BioWare after all. Even a campaign that flows more like a short story - as is the case with Anthem - should aspire to the quality of previous games from the studio. Unfortunately, it does not, but it comes close by merit of narrative ambience: the characters, the world’s lore, and their execution.

(For a long time I’ve had a theory that world building is what made the original Mass Effect great, not its critical storyline, which was basically a Star Trek movie at best. Fans fell in love because there were interesting people to talk to, complicated politics to grasp, and moral decisions to make along the way.)

While the main storyline of Anthem is lackluster and makes one roll their eyes at certain moments or bad lines, the world is immediately intriguing. Within Fort Tarsis, sophisticated technology is readily available while society simultaneously feels antiquated, echoing a temporal purgatory consistent with the Anthem’s ability to alter space-time. Outside the fort, massive pieces of ancient machinery are embedded within dense jungles in a way that suggests the mechanical predates nature itself. The theme of sound is everywhere. Silencing relics, cyphers hearing the Anthem, delivering echoes to giant subwoofers… It’s a fun world, it really is.

As for the characters… they might be some of the best from BioWare. They feel like real people. Rarely are they caricatures of one defining trait, but people with complex motives and emotions. Some conversations were boring, but the vast majority of the time I found myself racing off to talk to NPCs as soon as I saw yellow speech bubbles on the map after a mission. And don’t even get me started on the performances. They are golden.

The biggest issue with the story is that it’s not well integrated with missions. At times it feels like you’re playing two separate games: Fort Tarsis Walking/Talking Simulator and Anthem Looter Shooter. And the sole threads keeping these halves stitched together during missions - radio chatter - takes a back seat if you’re playing with randoms who rush ahead and cause dialogue to skip, or with friends who won’t shut the hell up so you can listen or read subtitles without distraction. I found it ironic that I soloed most of the critical story missions in a game that heavily encourages team play.

Technical Aspects: UI & Design

This is where Anthem has some major problems. God, this category alone is probably what gained the ire of most reviewers. The UI is terrible and confusing. There are extra menu tabs where they aren’t needed. The placement of Settings is for some inane reason not located under the Options button (PS4). Excuse me? It’s so difficult to navigate and find what you’re looking for. It’s ridiculously unintuitive.

Weapon inscriptions (stat bonuses) are vague and I’ve even seen double negatives once or twice. They come off as though no one bothered to proofread or edit anything for clarity. Just a bad job here all around. And to make matters worse, there is no character stat sheet to help us demystify any of the bizarre stat descriptions. We are currently using goddamn spreadsheets like animals. Just awful.

The list goes on. No waypoints in Freeplay. Countless crashes, rubber banding, audio cutouts, player characters being invisible in vital cutscenes, tethering warnings completely obscuring the flight overheat meter… Fucking yikes. Wading through this swamp of bugs and poor design has been grueling to say the least.

And now for the loot issues. Dead inscriptions on gear; and by dead I mean dead, as in “this pistol does +25% shotgun damage” dead (this has been recently patched but I still cannot believe this sort of thing made it to release). The entire concept of the Luck stat (chance to drop higher quality loot) resulting in Luck builds who drop like flies in combat and become a burden for the rest of the team. Diminishing returns in Grandmaster 2 and 3; it takes so long to clear missions on these difficulties without significant loot improvement, making GM2 and GM3 pointless when you could be grinding GM1 missions twice as fast.

At level 30, any loot quality below Epic is literal trash. Delete Commons, Uncommons, and most Rares as soon as you get them because they’re virtually useless. I have hundreds of Common and Uncommon embers and nothing to do with them. Why can’t we convert 5 embers into 1 of the next higher tier? Other looters have already done things like this to make progression omnipresent. You don’t have to reinvent the wheel here, BioWare. It’s already been done for you.

When you get a good roll on loot, the satisfaction is immense. But when you don’t, and you won’t 95% of the time, you’ll feel like you’ve wasted hours with nothing to show for it. We shouldn’t be spending so much time hunting for useful things, we should be trying to perfect what’s already useful.

It’s just baffling to think that Anthem had the luxury of watching the messy release of several other looter shooters during Anthem’s development, yet proceed to make the same mistakes, and some even worse.

Nothing needs to be said about visuals. They are stunning, even from my perspective on a base PS4.

Sound design is the only other redeeming subcategory here. Sound design is amazing, like the OST. Traditional instrumentals meet alien synth seamlessly. Sarah Schachner is a seriously talented composer.

I’m just relieved to see the development team hauling ass to make adjustments. They’ve really been on top of it - the speed and transparency of fixes has been top-notch. They’re even working on free DLC already! A new region, more performances from the actors... I’m excited and hopeful for the future.

#siganthem

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themostrandomfandom · 7 years

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Hey JJ, I was wondering what is your opinion on Klaine and the relationship between them and Brittana. Also I have a friend whose really obsessed with you and your blog and she reads it religiously so that must mean that your stuff is good ;) hope your day is going well :)))

Hey, @ruskinino!

First off, thank you forthe sweet message. Sorry it has taken me so long to post a reply.

Second, in response to yourquestion:

While both TPTB at Glee and fanon might like toimagine a close and straightforwardly friendly bond between Brittana andKlaine, I think that, in reality, things are much more complicated, and,unfortunately, less positive.

The two couples don’t hate each other, but thereis certainly a degree of caution in the way they interact, with both sides having been burned in the past.

We can break the issues down after the cut.

WARNING: I am writing this response as a fan of Brittany Pierceand Santana Lopez and a Brittana shipper. Though my intention isn’t to bashKurt Hummel, Blaine Anderson, or Klaine, there are elements of my analysis thatare critical of their behavior and which discuss some negative views which I believethat Brittany and Santana hold towards them. If you ship Klaine, proceedcautiously. What follows probably won’t be your cup of tea.

___

Brittana, Klaine, and Glee’s Writing

First, let’s talk aboutBrittana and Klaine on a production level.

In terms of Glee marketing,Brittana and Klaine were very important. For a show that prided itself on itsdiversity and forward-thinkingness, having two same-sex teen couples at itsfront and center was a big deal. While a lot of the critical praise for Gleedied off before the first season had even ended, the show continued toaccumulate awards from GLAAD, the Trevor Project, and other LGBTQ organizationsthroughout its run thanks, in no small part, to Brittana and Klaine’sprominence.

For PR purposes, Brittanaand Klaine were often paired together in promotional materials and paralleledin episode structures. RIB loved putting them side by side because when they did,it got everyone’s attention. If having one same-sex couple getmarried on TV was a huge thing, then having two same-sex couples get married onTV at the same time was an even huger one. It was all about doubling up, and thepowers that be at Glee took the opportunity to put two and twotogether when they could.

That said, Brittana +Klaine was often better executed in idea than in practice.

The truth is that asidefrom being LGBTQ and participating in show choir, Brittana and Klaine were twovery different couples, and Brittany, Santana, Kurt, and Blaine were four verydifferent characters. While in theory there exists a fictional universe wherethey all (or at least most of them) could have been friends—a point which manyexcellent fanfics well prove—the canon Gleeverse wasn’t it, mostly because thewriters never put in the work to really establish those interpersonal dynamics.

Brittana and Klaineran in the same circles and frequently orbited around one another in terms oftheir storylines and character development, but the narration never truly allowedthem to get to know one another or to form stable bonds.

Despite various comingstogether, at the end of six seasons, shared wedding notwithstanding, one nevergot the sense that Brittana and Klaine were actually very good friends. Sure,they didn’t hate one another, but there was also no deep love between them.Klaine were still questioning Brittana’s motives. Brittana were still mockingKlaine’s clothing, mannerisms, and relationship status.

Glee had failed to provethat these kids actually liked and related to one another on any special level.It was just another instance in which Glee kept trying to tell us that thesecharacters were friends, but they never showed us that such was the case (see here).

For as much as fanon lovesto imagine what might have been, canon shows us a much more convoluted—and muchless pretty—picture, one in which, due to a history of bullying and hijinks,Klaine never got comfortable enough to drop their guards around Brittana, andso, after years of repeated rebuffs and rejections, Brittana eventually grewfrustrated with Klaine’s distrust of them and emotionally disengaged.

So now let’s talk aboutthese relationships “in universe.”

Kurt and Brittany

The truth is that KurtHummel, like most of the characters on Glee, never really gets Brittany Pierce,and his view of her doesn’t change much between S1 and S6 (see here).

To Kurt, Brittany is simpleand strange—“a girl who thinks the square root of four is rainbows” and talks openlyand unironically about unicorns.

He tends to accept what hesees from her at face value, buying into the early stereotype she perpetuatesfor herself, namely that she is slutty and dumb, in some ways unaccountable forher own actions because she doesn’t understand what she is doing (see here).

Because Kurt’s initialimpression of Brittany is that there is not much to her, he never really thinksto look at what might be going on beneath her surface, and his opinion on hercharacter remains generally static. Consequently, he has trouble comprehendingher more nuanced behaviors, and he oftentimes patently misunderstands herbecause he is unaware of what her true motivations are and where her emotionalstakes lie.

Initially, the fact that Brittanyis one of the most popular girls in school is somewhat intimidating to Kurt, andespecially because she and the rest of the Unholy Trinity don’t mesh well withthe New Directions. For a long time, he doesn’t understand Brittany’smotivations for joining the glee club and so doesn’t entirely trust her. Whenshe is revealed as a spy in episode 1x13, he feels his distrust of her hasbeen validated (“You leaked the set list! You don’t want to behere. You were just Sue Sylvester’s little moles!”).It is well into S2 before he begins to trust that Brittany really wants to bepart of the glee club and that she isn’t just out for herself.

As time goes on andBrittany becomes more integrated into the group, Kurt tries to be nice to her inthe same way that people try to be nice to infants and pets, but oftentimes hispatience with her shenanigans wears thin, which is something that we see fromhim both when she serves as his beard in episode 1x18 and when she becomes his presidentialcampaign manager in episode 3x02.

When the things she saysbaffle him or when her behavior comes across to him as particularly nonsensical,Kurt has a tendency to snap at Brittany and drive her away. Lack ofunderstanding and patience for Brittany notwithstanding, Kurt does seem togenerally like her and is sometimes even protective of her. If asked, he wouldprobably say that he considers Brittany a friend, albeit not his closest one. Attimes, he even calls her by an affectionate short name, “Britt.”

Kurt and Santana

Kurt’s dynamic with Santanaover the years is similar to his dynamic with Brittany, in that it is alsopredicated on an initial poor first impression and the inability to advance thoseinitial views, even given an accumulation of new evidence.

To Kurt, Santana is thequintessential mean girl, motivated largely by malevolence and spite.

When she initially joinsglee club, he doubts her loyalties, just as he does Brittany’s. However,whereas the biggest fault he finds with Brittany is that, in his view, she isstupid and has a bad taste in friends, with Santana, he finds that she isvicious and even dangerous, particularly as she has a tendency to makehomophobic comments towards him (K: “Can we talk about the giant elephant inthe room?” S: “Your sexuality?”).

While there is some debateas to whether or not Kurt realizes that Santana is gay prior to her S3 outing, thefact is that, no matter what he knows or doesn’t know, he remains fairly alooffrom her throughout S1 and S2, and, in the few instances when they do interact,he is openly wary of her intentions.

In his mind, Santana isinherently selfish, so the idea that she would put herself on the line forsomeone else without expecting anything in return just doesn’t add up to him. Why does she protect him from Dave Karofsky? How come she goes out of her way to get him back to WMHS from Dalton? What gives with her suddenly using her prom queen campaign to protect him when for the lastseveral years she has taken every opportunity to bully him for being gay?

His cautious attitude towardsher continues into S3, when he doesn’t know exactly what to make of herattempts to be nice to him and behaves towards her as one might a cat that hadpreviously attacked him but is now purring. Though after her outing, he has abetter idea of why she does some of the things she does—such as going with him,Blaine, and Brittany to confront Sebastian Smythe after Dave Karofsky’s suicideattempt—much of her behavior still remains a mystery in his mind.

Why, for instance, does shenot appreciate his and Blaine’s attempts to serenade her during Lady MusicWeek?

In S4, when Santana becomeshis roommate in NYC, Kurt finds her behavior invasive and at times infuriating,though he generally gets along with her better than Rachel does.

In S5, he feels forced to choosebetween his loyalties to Santana and his loyalties to Rachel, and he inevitablychooses the latter.

In S6, he regards Santanaas a friend, though he still struggles to reconcile her behavior with what hethinks he knows about her basic motivations, which is why it so surprises himwhen she seemingly “out of the blue” decides to share her wedding day with himand Blaine.

As I discuss elsewhere,

Santana spends much of S1 and S2 making homophobic comments aboutKurt, so, to him, Santana is a mean girl, and he never really allows her togrow out of that role in his eyes.

Though in later seasons she becomes his roommate and tries tobecome his friend, he always keeps her at arm’s length and will side withRachel over her in a heartbeat, even in situations where Rachel is in thewrong.

At best, Santana is his fun, bitchy lesbian acquaintance. Atworst, she is his caustic, bitchy lesbian acquaintance.

He seems convinced that she is an awful person who sometimesmasquerades as a sweetheart rather than a sweetheart who sometimes masqueradesas an awful person, and he treats her accordingly, for the most part—though, infairness, he seems somewhat more amiable toward Santana than is Rachel, on thewhole.

Kurtand Brittana

As stated above, Kurt’sopinions of both Brittany and Santana remain fairly static throughout theentire series. When he first gets to know Brittana, he observes that Brittanyis a ditz and Santana is a bully, and his views on them don’t much change overthe course of the next six years.

If he encounters behavior fromthem which deviates from what he thinks he knows about their characters, then hecounts that behavior as aberrant and doesn’t shift his schema to allow for thenew evidence.

In other words, if Brittanydoes something undeniably clever, then he is likely to suppose it was anaccident—an exception rather than the rule. Ditto for if Santana does somethingcertifiably nice.

By S6, he knows enough torealize that, generally speaking, he and Brittana are on the same side.However, he continues to doubt their intentions, and, even up to the pointwhere they are graciously sharing their wedding day with him and Blaine, hestill questions their characters, failing to understand that they have grownand changed a lot since they were fifteen years old.

Overall, he does notunderstand Brittana’s dynamic. He either assumes that they function like he andBlaine do (see episode 6x03)—which they don’t—or else just plain fails to wraphis head around how they behave and what they feel for each other,underestimating the strength and depth of their bond. At his core, he can’t seewhat they see in each other. Why would someone like Brittany want to be withsomeone like Santana? Why would someone like Santana want to be with someonelike Brittany? What do they have in common? How do they make things work?

Brittana really are amystery to Kurt, but one he doesn’t spend too much time trying to unravel.

The fact that he soadamantly opposes their engagement even after six years of knowing them showsthat he doesn’t really get what they’re all about because, if he did, he wouldrealize that through all the ups and downs and changes with them throughout thetime that he has known them, they’ve always been each other’s only constant,and their bond with each other is strong, deep, and mature.

Brittany and Kurt

In S1, Brittany primarilyseems to pity Kurt Hummel—and especially because she very much understands hisunderlying motivations at that time.

Brittany is out long beforeKurt is, and she seemingly never wrestles with her own sense of identity in theway that Kurt does (see here).However, she does still feel for Kurt, and particularly as she recognizes thathe and Santana are essentially in the same boat.

Though at this point in theshow, few people would see similarities between an unpopular, virginal gaychoir boy and a popular, slutty “straight” cheerleader, Brittany knowsthat Kurt and Santana actually share much in common, albeit below thesurface.

Both Kurt and Santana carrya secret that that they’re desperately trying to suppress. Both Kurt andSantana worry that if they are honest about their identities, they will losethe love of their family members. Both Kurt and Santana perform socialgymnastics in order to maintain a sense of equilibrium in their lives, tryingdesperately to balance who they really are with who they think they need to bein order to survive.

Brittany is aware longbefore Santana says it out loud that Santana looks to Kurt as thequintessential canary down the mineshaft and that anything she sees happeningto him, she fears will also happen to her. Whenever Kurt faces homophobia orsuffers a setback as he negotiates his outness, Santana takes note, andBrittany, by extension, does, too.

In my view, that is why throughout S1 we see several instancesin which Brittany helps Kurt to interact with his father on his own terms, suchas in episode 1x04, when she and Tina convince Burt that Kurt is on thefootball team so that Kurt can save face (see here),and in episode 1x18, when she acts as Kurt’s beard so that Kurt can prove toBurt that he is “straight” (see here).

At this point in herdevelopment, Brittany is still very much in the business of helping Santana tomaintain the illusion of their straightness, and she essentially does the samething for Kurt. While she may not personally feel the need to hide her same-sexattractions, she knows that Kurt and Santana do, and she doesn’t hesitate toplay along in their schemes to convince the world that they are “outstandingheterosexuals,” no matter how overblown and ineffectual said schemes may be.

It is only as Brittanystarts to change how she relates to Santana during S2 that her relationshipwith Kurt also changes, and she becomes less about trying to help him obfuscate his true self and more about helping him to celebrate it.

Nowhere is this attitudefrom her more apparent than in episode 2x20, when she acknowledges how strongKurt has to be in order to be himself and encourages Santana to stand by him inhis time of trouble (“Go back out there and be there for Kurt. This is gonna bea lot harder for him than it is for you”).

While there is an element of self-service to Brittany’s actionsin this situation—Santana helping Kurt to feel comfortable with himself in turnhelps Santana to feel comfortable with herself, and a comfortable Santana isone who will be able to date Brittany—there is also some genuine pride andappreciation underlying them.

Brittany is glad that Kurt has gone from being someone who wouldlie to his father about having a girlfriend to being someone who can takeownership of a shitty situation by saying, “I’m proud to be who I am.” She seesthe progress he has made, and she applauds his real bravado.

Though she hasn’t said so out loud, to this point in the show,Brittany has considered herself to be in a position to “help Kurt up.” While hehas struggled to accept himself and later to forge his identity as an out gaykid at a conservative school, Brittany has already been there, and she has beenquietly watching him, lending him help when she can, and rooting for him fromthe sidelines.

Come S3, she feels that Kurt has finally peaked and that theyare now on equal footing in terms of being comfortable in their own skins.

That’s why she turns to him as an ally in her quest to make WMHSa safe place for other, potentially still-closeted LGBTQ kids, includingSantana—because she assumes that she and Kurt are both in a position to helpothers reach the point they’ve gotten to and that they’re on the same pageabout the importance of activism in their community (see here).

Her assumption is a mistake not because Kurt doesn’t care aboutLGBTQ causes but because he doesn’t understand her and her motivations.

For one thing, like most people at the school, Kurt doesn’t seemto think of Brittany as bisexual, her openness concerning her orientationnotwithstanding (see hereand here).Particularly given that Brittany and Santana are not yet openly dating at thetime when episode 3x02 takes place, Kurt doesn’t get that Brittany has theproverbial dog in this fight. In his mind, she is an ally at best, so it’s nother personal safety, comfort, and wellbeing that are going on the line in thiscampaign, just his. He is the out gay kid, so he’s the one that will have to facethe backlash, not Brittany, who, according to his understanding, is ostensiblystraight.

For another thing, because Kurt views Brittany as naïve, he believesthat she is wildly oversimplifying the matter at hand and that she doesn’tunderstand the grander implications of her own actions. He assumes that shethinks that running a campaign of this nature will be easy and that no one willpush back against it because her world is all rainbows, puppies, andbutterflies. He doesn’t realize that Brittany has been watching how peoplereact to him for as long as they’ve known each other. He also doesn’t get thatshe is smart enough to know what happens to anyone who dares to be toodifferent at their school.

While Kurt is finally to the place where he is comfortableclaiming his identity as a gay man and publicly being in a relationship withBlaine, he isn’t eager to become the face of the gay rights movement atWMHS—and especially not after being driven to Dalton the year before. The waypeople react to him is different than the way people react to Brittany andalways has been. While she may be comfortable associating herself with ProjectUnicorn, he isn’t, and so he and Brittany butt heads.

Whereas in the past when Kurt has snapped at Brittany (see episodes1x18 and 2x02), Brittany has typically backed off and done as Kurt says, in S3,Brittany actually stands up to Kurt, and the fact that she does so isreflective of her own personal growth during the Back Six of S2.

That said, it is also reflective of her changed view of Kurt nowthat he is out and more at ease in his own skin. In the past, Brittany viewedKurt as delicate, so she was all about being gentle with him and going alongwith things at his pace so as not to spook him. Now she knows that he isconfident in himself and that he can handle tough love. In her mind, that meansthat she can take the kiddie gloves off with him. So she does.

When Kurt says he doesn’t want her to run his campaign for thesenior class presidency, Brittany comes back swinging. Though she initiallyshows shock and disappointment about his decision, after a pep talk fromSantana, she tells Kurt that she is going to continue the campaign without him,becoming a candidate herself. While she isn’t mean about what she says, she isfirm, and she doesn’t back down.

This action represents a major shift in the way Brittany relatesto Kurt. No longer does she pity him or look at him as someone she has to baby.

—and that point is important, because going forward into S3,Brittany really seems to take off her rose-tinted glasses when it comes toKurt and how he treats her.

Brittany has always been aware that everyone aside from Santanathinks she’s stupid. Some people are meaner about it, like Finn, while somepeople are nicer about it, like Mercedes. It’s the difference between outrightdisdain and condescension versus “being too gentle” with her. Kurt was alwayson the nicer end of the continuum. Brittany knew he didn’t think of her as anintellectual equal, but she was willing to let it slide because at least mostof the time he was kind.

But as their political campaign heats up, Kurt starts to getannoyed with Brittany’s antics—and particularly as she gains over him in thepolls—and his interactions with her become noticeably harsher. Whereas beforehe always at least tried to hide the fact that he thought she was as dumb as abox of rocks, now he is much more open in his patronization, and Brittany isn’thaving it (see episode 3x03).

Between the disrespect he shows Brittany as a political rivaland his participation in Santana’s humiliating public outing experience (seeepisode 3x07), Brittany starts to get a bit passive aggressive towards Kurt. Ofcourse, it’s not that she outright hates the kid—she still likes him wellenough—it’s just that she is no longer giving him a free pass in how he treatsother people.

That attitude is the one she carries into S4 and S5, as Kurtgraduates and moves to New York, where Santana eventually becomes his roommate.While Brittany doesn’t have much direct contact with Kurt during this time, shehears through the grapevine about how he is treating her girl, and, honestly,the reports leave her troubled.

That Rachel and Kurt would kick Santana out of first the Loftand later Pamela Lansbury when Santana wants nothing more than to be theirfriends doesn’t sit well with Brittany. That Santana always seems to have tobeg for Hummelberry’s acceptance and friendship even though she freely givesthose things to them hurts Brittany’s heart.

In episodes 5x12 and 5x13 especially, Brittany sees just howmuch of a toll it has taken on Santana to constantly have to be on her guardaround Hummelberry, and she feels frustrated because things didn’t have to bethat way.

If Kurt had just dropped his guard, Santana would have been hisfriend to the end. Couldn’t he see?

Again, Brittany doesn’t hate Kurt for his behavior, but she alsodoesn’t entirely excuse it. In her mind, Kurt can be a nice guy when doesn’thave his head up his ass. It’s just that Kurt does have his head up his ass alot, and particularly when he is caught up in the constant drama that seems tosurround Rachel and Blaine.

Honestly, Brittany is never a big fan of Blaine, a point whichwe’ll discuss in more detail later.

Come S6 when Brittany starts interacting with Kurt on theregular again, her m.o. seems to be that she wants to remind him to be true tohimself and to heed his better impulses. She goes about doing so by behavingpassive-aggressively towards Kurt when he fails to toe the line (see episode6x02) and calling him out when he crosses it (see episode 6x03). Throughoutthis season, we see her use more tricksy troll!Brittany behavior on him thanshe ever has before, usually with the intent to take him down a peg or two whenshe believes he is getting too full of himself (see here).

At this point, Brittany knows that Kurt will probably neverfully get her and Santana and that their relationship will never be superclose, even given their shared history at WMHS. Still, she wants to be ondecent terms with him, and she wants him to show her and Santana basic respect,even if he doesn’t understand them or their dynamic at all.

As for Brittany’s push to share her wedding with Kurt andBlaine, suffice it to say that there’s a lot more to that story than meets theeye, and, despite what she professes, Brittany is no Klaine shipper (see here).Brittany has her eye on a prize in that situation, and Kurt is just in thedetails. She is on her way to a happy ending, and if she has to let him mooch herwedding venue to do so, then so be it.

Her attitude in that episode is indicative of her overall attitudetoward Kurt to end the show: She feels like she and Santana tried to connectwith him, but it never worked out. At first, she was hurt by the fact that Kurtnever came to understand her—and especially that he never came to understandSantana—but now she’s over it. She can be friends with him on a superficiallevel as long as he’s nice to them, but she’s not going to sit back and let himtreat her or Santana badly anymore. She knows they’re worth more than that,whether Kurt sees it or not. In the end, Kurttany has become a fairly neutralrelationship, and Brittany’s m.o. with it is to do no harm and take no shit.

Brittany and Blaine andKlaine’s Relationship

As I discuss elsewhere,

While Brittany doesn’t hate Blaine like she hates Rachel, she alsoisn’t his number one fan. In general, Brittany doesn’t take well to anyone whobelieves that they’re better than everyone else, so Blaine going after everysolo and role and class presidency with aplomb, regardless of whom he steps onto do so, doesn’t sit well with her. Brittany believes in being a team player,and, the way she sees it, Blaine isn’t one. He will always put himself in thepoint position, even if he isn’t the best person for the job.

—which brings us to his treatment of Kurt.

Historically, Brittany has been protective of Kurt, as she cansympathize with him (see here, here, and here).Brittany likes to see Kurt succeed because she likes the idea that someone whomarches to the beat of his own drummer can make it in a world that tries tomake everyone conform—hence why she helps Kurt with his campaign and why sheacts as his background singer for his NYADA audition and why she is generallynice to him, even though they’re not necessarily close friends.

Of course, just because Brittany generally likes Kurt and wantshim to succeed doesn’t mean she always agrees with him and his choices or willrefrain from giving him a little bit of tough love should she feel the need todo so.

Enter her “advice” to Kurt in episode 6x02 “Homecoming.”

Brittany has watched Kurt’s relationship with Blaine from thestart, and, honestly? I don’t think she likes most of what she sees.

For Brittany, a real partnership is about two people supportingeach other and helping each other to fulfill their dreams, and from Brittany’sperspective, I don’t think she sees Blaine doing those things for Kurt, thoughKurt often does them for Blaine.

In her eyes, when Kurt and Blaine both want the same thing—i.e., asolo in glee club, a role in the school play, a prestige spot at NYADA, acertain rule to be honored in their relationship—Blaine almost inevitably endsup getting whatever the thing is, with Kurt stepping aside or bowing out inorder to allow him to have it.

Add on the fact that Brittany has undoubtedly heard all about the“Klaine can’t live together without fighting” fiasco from Santana, and,frankly, I think Brittany probably views Blaine as a negative factor in Kurt’slife rather than a positive one.

That said, Brittany is all about respecting the choices peoplemake for themselves, so for as passive-aggressive as she may be about and eventowards Blaine, she isn’t going to stand in Kurt’s way once he decides he wantsto be with Blaine forever.

If Kurt loves and wants to be with Blaine, then Kurt loves andwants to be with Blaine, and Brittany will accept that Blaine is Kurt’s person,even if she doesn’t understand the appeal (see episode 6x03 and 6x08).

Santana and Kurt

Santana’s relationship with Kurt follows a similar trajectory toBrittany’s.

However, while Brittany runs through the cycle of sympathizing withKurt, wanting to befriend him, realizing that a deep friendship with him is notpossible because he never makes an effort to understand her, and then gettingover it mostly over the course of S1-S3 (at least on her own account),Santana’s cycle runs over the course of the whole series, and it runs on higheroctane than Brittany’s does overall.

Santana is the more emotionally reactive half of Brittana, so shetends to take things with Kurt harder than does Brittany on a whole, and especiallybecause her relationship with him is wrapped up in her own sense of identity asa gay person and in her dynamics with Brittany, Rachel, and her feelings abouther future, and it is marked by insecurity from start almost to finish.

As I say elsewhere,

Santana’s relationship with Kurt iscomplicated.

On the one hand, she spent much of high school wishing she couldbe him: i.e., the out gay kid who persisted in being himself no matter whatopposition he faced.

On the other hand, she spent much of high school terrified to behim: i.e., the out gay kid who got thrown into lockers and roughed up andtossed into dumpsters and hated on and threatened because he was gay (“I mean,you know what happened to Kurt at this school”).

Kurt was simultaneously an object of both devotion and fear forSantana. In spite of herself, she identified with him very strongly. She sawhis successes as successes she could possibly have and his failures as failuresshe could potentially experience (see Santana intervening to save Klaine fromKarofsky’s wrath in 2x18 and Santana’s panic after Kurt becomes prom queen in2x20).

That’s part of why she worked so hard to make WMHS safe for Kurtin Season Two, long before she herself came out (see here).

During Season Two, Kurt was more of a symbol to Santana thansomeone with whom she had an actual relationship, but during Season Three, shemade her first overtures of real friendship to him, reaching out to him whenSebastian and the Warblers tried to hurt him and Blaine (“Today is your luckyday, because Auntie Snixx just arrived on the Bitch Town Express”).

In her mind, Santana had done Kurt several solids by thispoint—i.e., forming the Bully Whips on his behalf, bringing him back to WMHSfrom Dalton, singing to him at prom despite her own fears, taking downSebastian after Sebastian hurt Blaine, etc.—and the fact that she had done soplus her and Kurt’s shared experience of being out gay kids at WMHS should havebeen enough to make them friends.

We see Santana operate under the assumption that she andKurt are friends throughout Season Four, answering his summonsto stage an intervention for Rachel in 4x12 and bringing him Christmas presentsin 5x08 (the events of whichtake place during Season Four chronologically). Though Santana stillcalls Kurt names, she assumes he knows that she only does so because she likeshim.

That being the case, she fully expects him and Rachel to welcomeher into the Loft with open arms (and particularly as Rachel actually invitedher to live in the Loft during the events of 5x08).

Unfortunately, that’s not what happens.

From the very first time Santana does something nice forKurt—i.e., forming the Bully Whips in 2x18—Kurt questions her motivations in sodoing. Why is the girl who openly mocked him and attempted to sabotage the gleeclub during their sophomore year suddenly buddying up to him in their junioryear? Surely someone as selfish as Santana can’t have altruistic motives. Shemust have either lost her mind or stand to profit from helping Kurt somehow.

Even when he learns that Santana is gay come Season Three, Kurtstill views her largely as an outsider, and his distrust (andmisunderstanding) of her continues well into Season Four, when she moves intothe Loft.

To be fair, navigating the Hummelpezberry dynamic is trickybusiness, and particularly for Kurt, who often finds himself in theuncomfortable position of mediating between Rachel and Santana, both of whomget up to some pretty wild hijinks and who often butt heads with each other.

Kurt is a natural peacemaker, and he dislikes having contention inhis home, so he will try to counsel Rachel and Santana through their disputesas much as he is able.

That said, at the end of the day, Kurt is Rachel’s best friend, notSantana’s, so while he may try to maintain his neutrality concerning theirdisputes, when push comes to shove, he almost always sides with Rachel in theend, as per what we see during the Pezberry Funny Girl disputeof early Season Five.

As I say elsewhere:

While there is certainly no shortage of wittybanter and fun musical numbers between roomies Kurt, Santana, and Rachel, thereis a shortage of “relationship-building” scenes—or at least a shortage oflasting “relationship-building” scenes that the Glee writers don’t subsequentlyrescind, ignore, or negate.

For every one friendly gesture Hummelberry andSantana make towards one another—such as, for instance, when Santana helpsRachel through her pregnancy scare in episode 4x15 or when Rachel encouragesSantana not to give up on her dreams in the first scene of episode 5x09—thereare at least two or three scenes that then show how very unstable their dynamicactually is—such as when Hummelberry kick Santana out of the Loft in 4x16 andSantana and Rachel are at each other’s throats throughout most of 5x09 and5x10.

Just as it was always the case that the UnholyTrinity broke down into units of Brittana + Quinn, it is also the case thatHummelpezberry breaks down into units of Hummelberry + Santana, with Santana asthe odd one out.

Not only do Kurt and Rachel frequently form ranksto outvote Santana, but their bond as Hummelberry can exist independent of her,whereas her bonds as part of Pezberry and Kurtana are largely dependent onHummelberry’s bond with each other—i.e., Kurt serves as a necessary peacemakerbetween Pezberry, allowing their friendship to exist, while a common interestin and exasperation with Rachel and her antics is what keeps Kurtana united.

Santana’s bond with Kurt is more stable thanSantana’s bond with Rachel, which is to say that Santana and Kurt are lesslikely to fight than Santana and Rachel are. However, Santana’s bond with Kurtis also weaker than her bond with Rachel is, which is to say that Santana hasless in common with Kurt than she does with Rachel and also that Santana feelsthat Kurt needs her less than Rachel does.

Of course, both Santana’s bond with Kurt ANDSantana’s bond with Rachel are relatively weak compared with Kurt and Rachel’sbond to each other.

If it comes down to it, Hummelberry’s tendency isto have each other’s backs. Though they like Santana to a degree, she is extraneousto them.

And the thing is that Santana knows it.

Santana knows the difference between a secureattachment and an insecure one, and she knows that while Hummelberry aresecurely attached to each other, they are, for the most part, insecurelyattached to her. Santana knows that Hummelberry will tolerate her as long asshe is on her best behavior, and she fears the implications of theirtoleration.

Frankly, Santana is terrified of stepping one toeout of line, lest Hummelberry kick her out of the Loft again—because for asmuch as Santana says that she needs her job at the diner, she needs her placeat the Loft equally as much.

So while Santana ultimately fights less with Kurt than she doeswith Rachel, her relationship with him is just as tenuous and one-sided as isPezberry’s.

She ultimately never achieves the kind of intimacy and secureattachment to Kurt that she craves.

So cut to Season Six, when Kurt objects to Santana’s proposal toBrittany (see here):

Santana is angry that she tried for years toprove to Kurt that she was his friend, and he responded by evicting her fromthe Loft, questioning her intentions in auditioning to play Rachel’sunderstudy, kicking her out of his band, making her feel like a stranger in herown home, being ungrateful when she saved him from his high school bully anddefended Blaine against Sebastian Warbler on his behalf and scored him a job atthe diner and brought her girlfriend into his band and participated (graciouslyand quietly) in his proposal to Blaine and spent time socializing with andgetting to know him, being kind to him in his down moments, giving him soundadvice in a way that no one else was honest enough to do, etc.

Santana is angry that despite her trying herdamnedest to show Kurt that she was not the same girl he knew in highschool—that she wasn’t wrathful anymore, that she was generous, that she waswilling to share her heart in friendship with anyone who would treat it withcare—he never believed her. He always thought the worst of her. He kept her onthe outside, when she so desperately craved (and worked hard to earn) histrust.

Santana is angry but mostly she is hurt.

Santana is hurt because she genuinely cares aboutwhat happens to Kurt, but he has just shown her that he doesn’t give a damnabout what’s most important to her in return.

She showed him her precious things, and hetreated them like they were garbage.

Kurt was supposed to be Santana’s friend, and itbreaks her heart that he isn’t.

So while Santana’s capacity to forgive is muchgreater than most people generally give her credit for—and often even greaterthan those who wrong her might deserve—she does inevitably reach a point whereshe just can’t take it anymore.

And so when Kurt fucks up something that isimportant to Santana, that is sacred to her, that’s supposed to be beautifuland happy and pure, by lecturing her about learning from his mistakes? Sheloses it.

To Santana, it’s just another example of howeverything about the Kurtana relationship has always been about Kurt.

It is no coincidence that Santana spends the months that herrelationship with Brittany is at its most tenuous chasing after Kurt’sapproval. Throughout S4 and early S5, she is desperate for a place to belongand something to hold onto, and she keeps hoping that Kurt will take pity onher. She has always envied the courage he has to be himself, and now that sheis scrambling to figure out who she is outside of high school, she seeks toally herself with him, thinking that maybe some of his self-determination willrub off on her and help her find her direction.

It takes until episode 6x03, when Kurt objects to her proposal toBrittany, for Santana to realize that she should stop killing herself to winKurt’s love and approval, as, in the end, she is probably never going to getit. Going forward, she doesn’t bear Kurt ill-will. She just isn’t as hung up onwhat he thinks of her, largely because she has found where she belongs and shehas a better sense of who she is, regardless of what anyone might think. Thesecurity she feels in her relationship with Brittany makes up for the insecurityshe feels in her relationship with Kurt (and also Rachel). She’ll be friendlywith them on a superficial level, but when they inevitably do something todisappoint her, she isn’t going to take it personally—not anymore.

This attitude towards Kurt is the one that Santana carries intoher wedding day, and it is what allows her to offer up her nuptials for Klaineto take part in as well. Everything that has happened between Santana and Kurtover the years is water under the bridge now, so if Brittany wants Klaine toget married at her and Santana’s wedding, then Santana is cool with it. She’sgame. She can be altruistic, and if Kurt notices, then awesome, but if not,that’s his deal. She doesn’t need his validation anymore. She is just going tobe herself.

Santanaand Blaine and Klaine’s Relationship

The central dynamic between Brittana and Klaine is always mostlybetween Brittana and Kurt, as neither Brittany nor Santana has much of apersonal relationship with Blaine beyond his being Kurt’s boyfriend/fiancé/husband.

To this end, Santana and Blaine don’t often interact on a one-to-one basis, andmost of their exchanges center on and are filtered through Kurt.

On the few occasions when Santana does take notice of Blaine forreasons not directly related to Kurt, her interactions with him are notnecessarily positive.

In episode 2x12, Blainetana get off to a bad start when Blainesingles Santana out at BreadStix, singing to her that she may never find loveat all and compounding her already horrible, awful, no good, very badValentine’s Day by drawing attention to her loneliness and (inadvertently)playing on her fears.

Things get worse in S3 after Blaine transfers to WMHS from Daltonand immediately starts grabbing up solos left and right, exacerbating Santana’ssense that there is no place for her in an already crowded New Directions (seeepisode 3x04).

That said, though Santana does not have much love for Blaine on apersonal level, she is willing to tolerate him for Kurt’s sake.

In general, Santana follows the same rule as Brittany when itcomes to how she treats Blaine and his relationship with Kurt, which is to saythat, though she may not personally see Blaine’s appeal for Kurt or think that Blaineis a particularly good match for him, she acknowledges that if Blaine is Kurt’sman, then Blaine is Kurt’s man, and so treats him like a friend for Kurt’s sake.In her case, “treating Blaine like a friend for Kurt’s sake” translates to hersnarking at him as she does at Kurt but also protecting him like her own whenneeds be.

The place where this behavior from her is most apparent is inepisode 3x11, when she “goes to battle” against Sebastian Smythe after hethrows rock salt in Blaine’s eye, sending Blaine to the hospital. Her musicalduel against Sebastian and the reconnaissance work she does against him is allfor Blaine’s benefit, a way to prove that Sebastian is guilty and get him backgood for what he’s done.

To Santana, that’s just how one treats a friend’s significantother—and it’s what she would expect Kurt to do for Brittany were the situationreversed.

Note: Santana’s expectation that friends should respect theirfriends’ relationships even if they don’t necessarily like or “get” themunderlies her hurt when Kurt objects to her proposal to Brittany in S6. No matterhow she feels about Blaine, she would never undermine Kurt’s right to be withhim or place her objections over Kurt’s feelings.

Overall, Santana seems to view Blaine as conceited and feelannoyed with him for his grandstanding, but she still accepts that Kurt loveshim, and that’s good enough for her. The only time she ever truly “goes after”Kurt and Blaine’s relationship is in episode 6x03, after Kurt objects to herproposal to Brittany. In that case, she is lashing out to hurt Kurt because hehurt her first. In her mind, he broke the “your friend’s relationship is sacred”rule, so she’s punishing him for it, plain and simple. The fact that she laterforgives Kurt enough to let him and Blaine share in her wedding proves that herdiatribe was mostly a nervous reaction and that, underneath everything, shebears Klaine no real malice. Again, she is over it, and if Kurt wants to marryBlaine, then that’s his business, and she’ll respect his decision.

Blaineand Brittana

As stated above, Blaine doesn’t have many individual interactionswith either Brittany or Santana, as he knows them mostly through Kurt (and, inBrittany’s case, through Sam).

That being the case, his views of the girls andtheir relationship seem mostly to fall in line with Kurt’s: He thinks Brittanyis dumb, Santana is mean, and Brittana is somewhat inexplicable. In general, heseems to be amused by the strangeness that is them, and he doesn’t really gettheir whole “thing,” but he plays it off because, well, why not?

On the few occasions when Brittana do nice things for him—such as when Santana protects him and Kurt from Karofsky in episode 2x17 or when Brittany invites him and Kurt to share in her and Santana’s weddding in 6x08—he is grateful, if befuddled, as he doesn’t really understand where the niceness is coming from.

Following Kurt’s lead, he never really pushes for a deeper or more intimate friendship with either Santana or Brittany or with Brittana as a couple. He seems mostly fine with the pleasant but superficial status quo and with Kurt being closer to the girls than he is. Whatever history is there, he’s not going to poke at. There is nothing that really personally compels him about Brittana, one way or the other.

Conclusion

Brittana and Klaine end the show as neither friends nor enemies.

Santana’s early bullying and Brittany’s seemingincomprehensibility put Kurt off on them early on, and Kurt’s inability tochange his opinions put them off on him later. Though over the years, they singplenty of songs together and show occasional care for one another, ultimately,they fail to achieve true understanding. To Kurt, Brittana are still asimpleton and a mean girl. He doesn’t recognize Brittany’s cleverness orSantana’s ooey-gooey center. To Brittana, Kurt is impossible. They feel theyhave tried to win his friendship to no avail, so now they’ve given up. Their relationshipstops just short of real intimacy. They have shared history, but they don’tbare their souls to one another.

In the end, Brittana and Klaine represent a failed experiment bothinside and outside of their fictional universe.

The writers tried to make “two same-sex couples as buddies” fetchhappen, but they never truly allowed the groups to overcome their rocky startswith each other. Their inability to scaffold and build up this friendshipcorrelates to a larger failure on their parts in the way that they wieldedSantana as a character—namely, that they never quite knew what to do with heronce they could no longer just straight up treat her as a villain following herdevelopment in S2.

They knew that Santana could be nice, but she made such aconvenient heavy that they were reluctant to label her a hero. Their attitudetoward her is reflected in Kurt’s treatment of her, and it accounts for many ofthe starts, stops, and stalls that she and Kurt experience over the years.

The same is also true to for Brittany and Kurt, as the writerswere never able to gracefully transition Brittany between what they had firstenvisioned her as in S1 and what they eventually made her into from S2 on, and,consequently, Kurt was never able to advance his views of her, either.

Since Kurt’s attitudes eventually became Blaine’s, the wholeBrittana and Klaine friendship stalled from the onset. For every one bondingmoment they experienced, there was always a fight or a misunderstanding or agrudge that prevented them from truly drawing close. Klaine keep their guards up. Brittana have hurt feelings and eventually move on.

Of course, none of this analysis is meant to discourage peoplefrom enjoying the idea of a Brittana and Klaine friendship in fic and fanon. It’sjust to say that, in canon, I think that the Glee writers choked in theirexecution and that the whole situation is a lot more complicated than itappears on the surface.

As for my own views on Klaine, I don’t personally ship them,though I respect those who do.

Sorry this answer turned into such a monster piece.

Thank you for the question!

#Crazy Brittanalyst answers #ruskinino #Also @dive-right-into-you: I got your question and I'm working on a response

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enddaysengine · 7 years

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Exploring the Manifest Zone - Episode 1: Introduction

Those of you who've been with me since the beginning may recall that I originally started this blog as a way to improve my writing while having some fun exploring different worlds. I'm going to keep that up, but you might also notice that I've started to branch a bit from the original monster descriptions and plot hooks (no duh!). One of the things that I've been doing recently on the Chronicles of Darkness forums has been Let's Reads of various books, including my ongoing review of Parasite Rex. I'm going to keep doing that, but I'm also going to open up my genres a bit, so you can expect to see Let's Watch and Let's Listen segments in the future on various topics and games.

That brings me to Manifest Zone. Manifest Zone is a podcast about Eberron hosted by Wayne Chang, Kristian Serrano, Scott W, and Keith Baker. It is excellent, and while I haven't finished the first episode, I've gotten some fresh new campaign ideas out of it. What I'm going to aim for in the future is to come out with Let's Listen to Manifest Zone catching my initial reaction to the podcast within a week or two of them being released. These thoughts will mostly be just reactions and unedited, so if you want to get a discussion going, feel free to reblog and comment. Manifest Zone also has a Q&A where they respond in short clips to questions. I won't be replying to those, although maybe I'll compile a bunch of them into a response later on.

So without further ado, Episode 1...

Introduction

https://manifest.zone/01-introductions/

So I know Keith loves Eberron, but I also know that Sci-Fi/Fantasy fans can make creators burnout. The fact that he's still here, still dedicated to a setting that was released 13 years ago and still has yet to see the light of day in 5e is incredible. He sounds so happy to talk Eberron yet again at the start of this podcast, and it is in some ways unbelievable. Eberron has survived and thrived not just because of Keith's grand vision, but because of the person that Keith is.

Keith, if you are reading this, thank you. You've given us far more than we deserve and Eberron fans are spoiled by your love and generosity.

It is fascinating how Wayne, Kristian, and Scott all got into Eberron and why they were motivated to do the podcast. That speaks well to having a variety of perspectives in the podcast. I'm interested to see if I can pull any of Kristian and Scott's ideas from Savage Worlds into Pathfinder. I've debated trying to run Planescape and Eberron in Chronicles of Darkness before, but never really pushed it.

I like the idea of introducing Eberron as a post-fantasy setting. In fact, I will probably include it in my next campaign pitch. Being up front with the fact that Eberron lacks many classic tropes, and the ones it does contain are often deconstructed or twisted in some way is good practice for GMs. I'd toss Eberron much more into Science Fantasy than plain Fantasy.

The way that elven lifespan impacts their culture wasn't something I had thought about until Keith brought it up in the FAQs. It has to be one of the most interesting parts of Eberron for me, even though it's underplayed. If I add another elf culture on a separate continent, I'd be curious what other alternatives are out there for how elves deal with death and memory.

Zilargo is absolutely one my favourite nations in Eberron, and there are numerous reasons for that. One is that gnomes feel like a distinct race with their niche and values that are clearly separate from both dwarves and halflings. Another is precisely the modern socio-political question that the podcast discusses; the question of how far we are willing to sacrifice privacy in the name of public security. I remember very early on when Eberron was first released, and Keith described Zilargo as being one of the scariest places to people who have been brought up in North America's modern culture. Unlike the Sarlona, Zilargo has made some genuinely challenging (and possibly disturbing) political decisions, but the Zil remain relatable and understandable. For all that I would personally absolutely disagree with the way that the Trust runs their country, I can empathise with the why the gnomes made those decisions, and I find the implications for their culture to be fascinating. While Zilargo can fulfil an "evil nation" role in a campaign, their default presentation remains that of one political system amongst many, and they are not obvious villains. Of course, with the Trust, that's precisely the way they like it.

Lifting different storylines into RPGs is a time honoured tradition. Firefly would make for excellent fodder, but I'm more interested in the Lost story. I've heard Keith tell part of this one before, specifically the bit about the roc eating the captain, then the giant cat treating the roc like a songbird. I didn't know the bit about it being inspired by the TV show, but is sounds like an interesting scenario. Maybe I will try to write it up if I ever find the time. Diehard on an airship also sounds awesome.

The unanswered questions about Eberron are one of my favourite parts of the setting, and it is one of the things that Eberron and Golarion have in common. No one knows what caused the Mourning or what killed Aroden (well, Erik Mona knows the latter, but he isn't telling). This goes even further in Eberron than most settings. If you listen to the Speaking Stone segment on pronunciation, Keith says that the reason there are no guides how to say the names of the nations is that there is no one correct way to say them. The design team deliberately left out pronunciation guides so that Storytellers could have NPCs from different regions pronounce names differently.

The point that Wayne makes about the joy of trying to piece history and little clues together is so true. This is a common thread I see in Planescape, Chronicles of Darkness, and Eberron. History is important to all three, and they tell you as much with the spaces that are left in between what is explicitly said. They challenge you to find what fits in those gaps. There's a reason I have timelines for all three setting that I meticulously add details to so that I can see how everything relates together. It is no surprise that those three settings are my favourites.

"Wide magic" is an excellent term to describe Eberron that I haven't heard before. I like it. It's the same way that Firefly isn't high technology, its wide technology. I am guilty of calling Eberron magipunk though. The historian and teacher in me love the speculative fiction portion of Eberron's "magic as technology" premise. It is so interesting to see our world through a "mirror, magically."

The lock and key model of focus items with Dragonmarks is neat. I'll be using that one in the future.

The setting expectations bit is all very solid advice. The concept of failing forwards is very prominent in Chronicles of Darkness, and it adds to the game greatly. I'm wondering if there is some way to reward major failures that create drama and story twists in d20 like CofD does with dramatic failures and players being able to choose to turn failures into dramatic failures. Maybe extra uses of per day abilities? I'll have to think on that one.

Next episode is on the Last War. Super psyched for it.

#Manifest Zone #Eberron #Keith Baker #Podcast #worldbuilding #3.5 #WotC

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ninches96 · 6 years

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Why Torna will always be the Golden Country

Apologies to those who have the pleasure of hearing this opinion on a daily basis, but Xenoblade Chronicles 2 is a good game. In fact, in a year that brought us Mario Odyssey and Breath of the Wild, Xenoblade stood out as my favourite game I played in 2017. Hopefully I’ll have a chance to defend this opinion shortly, but in the interim I’d like to give a brief backstory of my relationship with Xenoblade.

I didn’t Play Xenoblade 1 or X. Actually, it wasn’t until Xenoblade 2 came out that I even considered buying it at all. The only reason I bought it at all was to round out the ‘Year of Nintendo’ having bought a new AAA Switch game every month. I didn’t even play other Japanese RPGs like Final Fantasy and games like Octopath Traveller didn’t interest me in the slightest after playing Xenoblade.

The basic premise of Xenoblade is that you are a Driver, basically a swordsman, who has up to three Blades at a time. Depending on which Blade you have engaged at any given time, you have different elemental attacks which have individual effects. Rex, the protagonist, accidentally encounters the most powerful Blades in existence. First is Pyra, an Aegis who becomes the main companion of Rex and is the key component to the story. Then there’s Malos and Jin, the antagonists, who want Pyra dead for reasons that only 100 hours of gameplay can really make clear.

When I played Xenoblade, it took me hours and hours and hours to finally clock the combat system, by which point they’d added various combos, gauges and other factors to start thinking about. Every time it stepped up the complexity, I was drawn further in. And, though everyone else hates it, I found the cutscenes to be fun and enjoyable. The story managed to suck me into learning everything about the universe that I knew nothing about, in a way that Skyrim never coaxed me into.

Where Xenoblade Chronicles 2 falls short is in its length, clocking in at well over 100 hours from start to finish and immeasurably longer if you’re interested in all the side quests. Also the combat system, while is engaging in isolation, can get tedious during grinding and uninteresting side-quests. Oh and the map/waypoint system leaves a lot to be desired. And there’s too many blades which bond with a given driver permanently. And Poppi is a super irritating blade to try and manage. Despite all these factors, the sheer scope, beautiful environments and complicated storyline kept me hooked to the point where a year on I’m still itching to get back on and start a new game from scratch, then start a new game plus to 100% it. If I had another 300 hours to spare, I would.

This year, the Xenoblade team made a magnificently unique choice. They released a DLC pack called ‘Torna: The Golden Country’, a prequel that explores Jin, Malos and the characters you meet only in flashbacks during the main game. Well, yes that’s been done plenty. But this DLC is also a stand alone game. You can walk to the shops and buy Torna without having touched the main game.

Torna is perfectly crafted to exist as a standalone game to those who have no idea Jin is destined to become a villain in the future as well as for those who know everything about Lora’s future but want to learn more about her past. Lora in general, actually, is an excellent protagonist compared to Rex. She is flawed and heroic in organic ways where Rex was built to be a generic, blank-slate, hot-headed but good-willed kid like we’ve seen time and time again.

If you’d not guessed it yet already, Torna: the Golden Country being a standalone game is the perfect way to release this game. Not only because it entices people into the franchise with a much more manageable £20 price tag, but because it lets me get away with calling it my Game of the Year 2018.

Lets start with the squad. Xenoblade 2 has Rex, Tora, Nia, Vandam, Zeke and Morag as the main components of the party, each of which has 1 ‘key component’ blade who has their own character traits and 2 more blades which are assigned by the player. That makes it incredibly busy and gives you lots to keep track of. This works in a 100 hour campaign, but for a 20-30 hour DLC pack it would be far too much. That’s why Torna has just 9 (playable) characters. Lora, Adam and Hugo will always be your party and each has exactly 2 blades. This compacts the experience and allows the developers and the player to focus all their attention on these characters to develop them all as much in 20 hours as Xenoblade 2 does in 100. Admittedly Hugo felt a little generic, as though he’d already had his story arc, but that’s of little consequence.

The world is compacted down too, Xenoblade 2 sees you scouring dozens of Titans (basically islands) with snow, plains, cities, forests, oceans and all kinds of different environments, each with its own distinct feel. Torna has just two Titans to worry about, the sprawling Gormott, which exists in Xenoblade 2 as a similar but distinctly changed map, and Torna itself, which is divided into several sub-sections for ease of navigation. It would have been nice to have one extra environment to explore, but these two are all you really need. Gormott is so vast that it’s easy to forget what you’re doing because you saw a chest in the distance while Torna is compact and incredibly functional, making it easy to catalogue all there is to do and work at it methodically. This also make the enemies you fight consistent and there tends to be more of a focus on animals than generic human soldiers than the full game.

The story itself is engaging but curiously, fails to address a lot of the questions I was left with at the end of Xenoblade 2. Adam in particular is an elusive character in Xenoblade 2’s flashbacks but we meet him in Torna after he’s done his ‘legendary’ stuff without ever finding out what it was. It does an excellent job of going over the basics without dwelling on stuff we already heard Rex talk about every half hour in the main game but I can only hope these gaps in the story can be filled in through future games.

Some smaller changes include the campfire crafting, which replaces a majority of the NPC interaction in the main game. Shops are few and far between so you must make do with what you can make yourself. In the grand scheme of things, very little is changed with this alteration besides (as I’m sure you’re sick of me saying) condensing the gameplay down.

The only considerable drawbacks from the game, which if you’ve read any other reviews you’ll be more than aware of already, are that the voice acting is a very acquired taste and the characters will repeat the same half dozen phrases in combat for the entire adventure. More frustrating though is the wall you come against at two points in the game. There are two segments in which your only quest will become ‘do X side quests’, amounting to around 50 side quests that are unavoidable to complete the game. This didn’t affect me because the side quests were a natural part of my progression in the game, so I was only ever a couple away from my target anyway but if you were hoping to blast through the story without touching the optional quests, you will get angry. The optional quests themselves vary a lot from ‘kill x enemy’ to genuinely engaging sub-plots that span the whole game. Generally I found them to be an enjoyable extension of the game rather than a chore but I can see why others would disagree.

When Ubisoft talked about their Donkey Kong DLC for Mario Vs Rabbids, they explained how the DLC was actually quite a lot easier than the main game was in its later levels. It was an expansion, not an extension. Given that Torna is marketed for both newcomers and veterans, it’s easy to see how the complicated gameplay would be a barrier for one of these two groups. Newcomers would have to learn a 100-hour gameplay loop in 1/5 the time or veterans would be left bored that their hours of learning were wasted as Torna becomes too easy. The gameplay is by far the best part of Torna.

The very basic concepts are still in place, Lora still has her Blades and they grant her powers. You still have two other team members and all of you have various elemental attacks that can combo together. Where Torna refines the work of its predecessor is that Blades and Drivers can both be playable in combat. Rather than Pyra granting Rex a fiery sword, Jin can step forward in battle and Lora grants him bonuses. They have special attacks that trigger when they’re ‘tagged out’ which deal more damage and make encounters more interactive. You feel more like a team of 3 characters rather than a Pokemon Trainer with his Fire, Ice and Electric types. There’s also a more effective Elemental Combo system which makes it laughably easy to set up an enemy with all 8 elements and ‘break’ them for a massive chain of damage. This would probably get on my nerves but later in the game, they start to punish you for over-extending. Certain bosses deal immense damage to you if you leave elemental orbs for too long, giving you the choice between setting up and breaking as quickly as possible with the risk of it backfiring or learn new techniques to win battles without elemental attacks. In addition, there being only 9 characters to think about means the developers could build real synergies between them which are easy enough to work out without spending hours trawling through the wiki.

I wasn’t lying when I said Xenoblade Chronicles 2 was my favourite game of last year, standing tall above Mario and Zelda and Splatoon and Pokemon. It was so imperfect that it’s really easy to talk about the problems it had. And, as I hope to explain one day, it is not as good as Odyssey and Breath of the Wild were last year. But it was by far my favourite game. Torna systematically deconstructs Xenoblade 2 to find out where those faults were and how they can be addressed. Torna doesn’t take a 100 hour adventure and cut it down to 20 hours. It fits 100 hours of depth into 20. It makes me truly excited to see how Xenoblade 3 takes the same 20-hour experience and extends it back out to 100.

If the huge investment and complicated gameplay put you off buying Xenoblade Chronicles 2, or if you’re wanting an excuse to jump back onto the Titans of Alrest, Torna: The Golden Country is a must-have.

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