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huacheng-zhu · 4 years

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ok so 2ha. vague spoilers ahead (important spoilers are warned but watch out)

that’s a solid 4.5/5 for me. this novel RUINED me and I loved it for it. it made me feel like very few novels (and even stories in general) did. today I’m STILL shaken over a part of it that I read two days ago, despite the happy ending. I have A Lot of thoughts (shout-out to @whateverwuxian who can testify that I couldn’t shut up about it, love you buddy!!) so I just went ahead and [gestures below]

starting with the negative so we can enjoy all the positive later. feel free to discuss but I’m extra sensitive and these are only my personal feelings so they probably won’t change anyway, so be nice please!

what I didn't like:

too many r*pe scenes. I get that the non-con """makes sense""" narratively and thematically but like. they didn't have to be explicit. at the very least not all of them. sorry but too much is too much. there are more non-con sex scenes/flashbacks than consensual sex scenes! stop! we get it! enough now!

not a fan of a 26yo falling in love with a 16yo. if cwn had initiated Anything I would’ve thrown the novel out the window. but thankfully it didn’t happen, I got invested, and nothing mutual happened until mo ran was 22, so I mostly got over it, but I’m still somewhat uncomfortable with it for very personal reasons.

their first time putting it in. it felt so unfair and I was very upset over it. it could’ve worked without going There? why. was that necessary. and it's heartbreaking for both of them, because mo ran didn't want to do it either. he wanted them to take all their time. he wanted to go step by step. all he wanted was to make sure cwn would be happy and comfortable and never hurt again in bed. for their first time that way he wanted it to be special. but it was just. taken away from them, and for what? for nothing there’s absolutely no reason for it. I get there’s the metaphorical foreshadowing of the upcoming reveal aspect (spoilers) both of them not consenting, mo ran being horrified -> the reveal that mo ran was cursed and so would’ve never wanted to treat cwn like this in the past either if he’d had control (end spoilers) but still?? and it’s never brought up again? I know they don’t get the time until the very end but hhhh. yeah I have Feelings over this

some plot twists hit good emotionally but had no point? thinking of the one about xue meng here.

there’s horny, and then there’s mo ran. it’s not a bad thing, it’s just not the kind of stuff I like reading about and book 1 and 2 are A Lot on that side so in book 2 after a while ME, THE BIGGEST ASEXUAL WHO COULDN’T CARE LESS ABOUT SEX SCENES, WAS LIKE, “oh my god have mercy please just fuck already I beg of you” and indeed they chilled a bit after that. like they were still horny but. less intensely and less all the fucking time. thank god (I still think the farm arc was hilarious to witness though, and I did love it)

kinda wish their reunion at the end was longer and more emotional but that’s just because I love that shit

(spoilers) kinda wish we got to see shi mei again before he went off doing his blind wandering doctor stuff. a talk with ranwan would’ve been very interesting. (end spoilers)

xue meng didn’t get a hug

that one thing at the end you know the one. maybe I'd be more into it if it'd been given time to be explored seriously and wasn't played off as a joke. it kinda ruined the mood of their last scene for me. (spoilers spoilers spoilers this is the end of this section if you don’t want to get spoiled) in that scene I wanted chu wanning to ride off into the sunset with mo ran, not txj. like, txj is the alternate world’s “if there had been no transmigration” version of mo ran 2.0. the whole point is that mo ran IS txj in book 1, but changes and becomes mo ran 2.0. mo ran 2.0, who by the end of the novel has already done all the redemption and deconstruction of his dubious habits. who he was as txj is long behind him. at this point txj will always be a part of who he was, but they are pretty much two 'different' people now. txj disappearing into dust after everything that happens at the end was beautiful symbolism. it meant something. to me there was no point keeping txj around after all that other than for “haha split personalities fighting over cwn’s attention uwu” THAT SAID the fact I'm not a fan of the idea doesn't mean I don't like txj. I care txj a lot and have Emotions over him, and I will definitely eventually explore this in my writing

(still spoilers) the demonic blood reveal was a bit.... deus ex machina? plus I personally would've preferred mo ran staying a regular person (end spoilers)

alright what I liked now:

the themes, both regarding the characters and the various plot elements. this novel really challenges your morals and what you think is right or wrong, what’s redeemable, what’s punishable, and how much one relies on first impressions, amongst other things. this novel is the definition of “don’t judge a book by its cover” but also “look further than the first page” in so many ways

the romance. like I don’t need to say anything there. just, the slow burn, the longing, the yearning, the romance [clutches heart]

the plot twists/reveals. I’m so glad I was barely spoiled (I was spoiled two Big things but very vaguely so I was still surprised) because pretty much all of them had me shouting “WHAT” and/or gaping and/or various “what the fuck!!!”/”holy SHIT”/“NO” reactions

the way a lot of those reveals just completely change your view on things/characters?? that’s my jam

wontons. that was the first time I cried and my first very physical reaction to an event in this novel. I literally felt like time froze. I heard my heart beating. it was painful but AMAZING.

might be nothing in the grand scheme of things but honestly, all the food! I love that mo ran is an excellent cook and can make all those delicious dishes for cwn. as someone who loves to cook for their loved ones I think it’s so lovely that he gets to do that

the character growth. for everyone, but mo ran in particular? like I just. I started off not liking mo ran very much, straight up despising him at times, and in the end I was fucking sobbing over him and cried myself to sleep only to wake up in the middle of the night to cry some more so there’s that

chu wanning? there were aspects of him that I related to heavily, and that felt both like the Mortifying Ordeal of Being Known and very special because it doesn’t happen to me that often

the whole deaging arc. that was deaging done right and it had a purpose in the narrative and their relationship growth, I was “!!!!”

I LOVE how they took their time with EVERYTHING once they got together? that it spanned over several weeks? that it started with the confession, then just holding hands, then kissing, then making out, then sex, and even the sex was step by step! it said A LOT about mo ran’s character growth and it respected SO MUCH the fact that cwn is a 32yo (unrelated but (spoilers) I like to argue that yeah he’s been alive for 32 years but when you’ve been asleep and not aging physically nor growing mentally for five years in a way that makes you a 27yo. so when he calls his body “mature and old” and compares himself to shi mei I’m just. buddy your body is just three years older than shi mei’s there’s barely any difference in maturity right there. I know it’s your lack of self-worth speaking, and believe me I get it, but don’t be so hard on yourself. (end spoilers) anyway, this is an unimportant and unrelevant thought that I had during the mirror scene) who has no experience in any of these things whatsoever. he's not pushed into sex like he's going to be comfortable right off the bat and like it isn’t such a big change in a life that’s been ascetic so far. mo ran is aware of that! and when they have their first time mo ran, who’s been maybe even more horny than cwn all this time - seriously horny is that guy’s middle name, who initiated the sex, what does he say!!! "don't worry about me, tonight, I just want to make you feel good"??? mo ran?? your character development??? I appreciated that so much.

the pain. I’m still bleeding on the floor despite the happy ending but yeah. I like angst and I was not disappointed. it didn’t feel that gratuitious to me, more like, brutally honest? I don’t cry that easily but by the end I think I’d cried, what, close to ten times??

quite a few excellent quotes [lies down] “I realized - I had grown into the you in my heart”?? “hell is too cold”??? I highlighted more but those two are the ones that always come to my mind first

most of the time the flashbacks were perfectly inserted for maximum emotional damage and I respect that skill

xue zhengyong. like he’s not my favourite, my favourites are xue meng, nangong si and ye wangxi but? I just adored him so he gets a special mention

the side characters? like, I legit loved Everyone? when I cry over side characters you know it’s serious

THE CONFESSION SCENE. LIKE. HOLY SHIT MY HEART. it comes reaaally close to the vocal one (because hua cheng confesses so many times without words) at the end of tgcf for me. it was beautiful. I was so emotional. the fact that cwn can't say it no matter how much he feels it. like it's always been plain and clear just how much he loves mo ran. but he can't say the words yet and I just. the fact that mo ran gets it? that he doesn't need the words, just that squeeze of fingers, just what cwn is, at that moment, able to give him, and it doesn't mean less to him than words would? it hit home real hard

unless I think of something else, that’s about it! I can’t recommend 2ha enough, that said, I beg of you, heed the warnings. they are NOT overstated. and even if there were no warnings, take care anyways. the angst is serious, it haunts you. angst always makes me feel like my chest is being squeezed and that’s precisely the feeling I’m looking for when I choose to read angst. I have good tolerance to it, so despite not doing entirely well lately, I thought I was tough and went for it, but I’m a CLOWN. the way it’s written ruins you. this morning despite reading the hardest part of the angst on saturday evening, I still had some physical chest pain. so I recommend it with all my heart, but take care of yourselves. 2ha doesn’t fuck around.

#2ha #bee talks #i will probably tweak and add to this post over time because I probably forgot stuff #anyways I'm gonna go lie down and cry over ranwan as I think about my fic ideas #2ha review

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lanonima · 4 years

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I finished a new novel so you know what that means!

Romantic - Fucky is not how risque a work is but rather my opinion of the attitude/quality of the main relationship, the way the characters interact with respect to one another. I like a lot of stuff in fiction but if you’re easily made uncomfortable, stay towards the top half.

Easy reading - Plot-heavy is how I personally consider the plot’s intricacy and successful implementation, regardless of the author’s intention.

Fox Demon Cultivation Manual

Author: Feng Ge Qie Xing

Quality: 8

Enjoyment: 10

Comments: This was a delightful romp. I had expected it to be somewhat silly and was pleasantly surprised. It was heavy enough to be engaging but light enough to be an easy read, with multiple spots that made me literally laugh out loud which does not happen often. This is apparently just one book in a series of same universe novels, and a lighter-hearted one at that. I would be interested to read the others because I found the world pretty engaging, and I do want to know what became of the other characters. Overall I found it very fun and very cute, I read it in four days so that says something. On the downside, the link for chapter 9 is broken. But skipping a chapter doesn't seem to have affected the experience of the novel as a whole.

Would I read it again: Yeah I think I would be willing to read this again someday. If it gets adapted I would also consume adaptations, in addition to being interested in the other connected works.

The reviews of things I previously read are below the cut.

Mo Dao Zu Shi

Author: MXTX

Quality: 9.5

Enjoyment: 10

Comments: I have a huge emotional connection to this novel. There are some weak parts, the tension isn’t quite even, she’s pretty terrible at erotic scenes and not great at fight scenes…but that being said, I love the characters and some of the plot points really ripped my heart out. This is a novel that’s really driven by the characters so if you’re a character-focused person like me, definitely look into it (as if we all don’t already know it lmao). I really, really love this story. Every single adaptation of it has also been great, but the novel is still my favorite. It was my introduction to xianxia novels too, so you can say it changed my life!

Would I read it again: I’ve already read it twice, and consumed every adaptation (sometimes also multiple times)

Scum Villain’s Self-Saving System

Author: MXTX

Quality: 6

Enjoyment: 5

Comments: I’m not much of one for comedy and, as I discovered, not really into system novels either. Clearly weaker than MXTX’s later work, many of the characters are somewhat bland, she hasn’t quite found her groove yet. It’s not my style but the fandom is hilarious and the fans constantly produce content that I actually do find entertaining so overall I still have some fond feelings for this one, even if not for the source material.

Would I read it again: I found a different translation and am willing to try again in the future, I’m also willing to watch the donghua. But I can’t guarantee I’ll like it any more than previously.

Tian Guan Ci Fu

Author: MXTX

Quality: 10

Enjoyment: 10

Comments: I love this book…but not as much as I love Mo Dao Zu Shi. I think the plot is somewhat typical, however the characters are great once again (though maybe slightly less deep than MDZS), and her use of thematic repetition and foreshadowing are killer. Actually, I liked this book more the second time around because it just hits differently. Definitely the best of MXTX’s couples, they are so soft and sweet. Very long, but worth it.

Would I read it again: I already have, was personally translating the manhua before I hurt my arms, and am eagerly awaiting the donghua this fall!

The Villain’s White Lotus Halo

Author: A Big Roll of Toilet Paper

Quality: 10

Enjoyment: 10

Comments: Fuck, I love this one so much…..even though it’s also a system novel. But that part is in it so rarely that it reads more like pure fantasy. I love the characters, I love the plot, I love the way the relationship is developing. Oh yeah, the translation isn’t even complete but I already purchased not only the original from JJWXC but also the print edition. I’ve even drawn fanart for it, which is so unlike me. Every time a chapter comes out, I’m ruined for the rest of the day, I can’t think about anything else. Good fight scenes, which is uncommon. My favorite danmei novel so far.

Would I read it again: I fully intend to once the translation is complete, and also plan to read it in Chinese later (I’ve already read certain parts in Chinese hahaha but not the whole thing)

2Ha (Husky and his White Cat Shizun)

Author: Meatbun Doesn’t Eat Meat

Quality: 8

Enjoyment: 10

Comments: 2Ha is not for the faint of heart, it’s very horny, and violent, and has a lot of questionable content. However I love it so much. The story and characters are great, Meatbun really has me by the heart. The writing is a little more on the casual side but it hardly matters because the story is so great. Good fight scenes. Chu Wanning is like, the ultimate Me™ character, I hate how much I adore him. If you read this, just go into it knowing that it’s a long emotional journey, the characters are very dynamic and there’s a lot of character development.

Would I read it again: Same as the above, I plan a reread when the translation is done and have read parts in Chinese and might read the whole thing again later. Cautiously eager about the up-coming live action and donghua.

Di Wang Gong Lue

Author: Yu Xiao Lanshan

Quality: 2

Enjoyment: 9

Comments: This is one of the most terribly written things I’ve ever read, but I’m a character girl and the characters and ways they interact fucking kill me. I’m constantly entertained….although I don’t think this is actually supposed to be a comedy. If I were going to treat myself and like, take a bubble bath and read something that made me laugh, this is exactly the sort of trashy romance I would want to read. Technically a political intrigue story but it’s so abrupt and full of holes, are any of us reading it for the actual plot? The donghua is on Youtube, I watched it first and recommend others to do the same. If you can handle that, you can handle the book because it’s exactly the same in quality, just gayer. I do love the main couple a lot, the set-up surrounding the relationship is great, and the side characters are also really fun.

Would I read it again: Probably not, but I’m still having fun with it. I watched the donghua and read a bit of the manhua as well, which has very cute art and is probably my favorite version of the story.

Liu Yao

Author: Priest

Quality: 6

Enjoyment: 7.5

Comments: I really struggled getting into this one, it took me about 25 chapters to get invested. Initially I had rated it a 6 in enjoyment but after careful thought, I realized that even though it was so hard for me, it probably is my favorite Priest novel and I really do love the main couple so much. Her side characters also seem to be slightly stronger than usual in this one. Decent plot, not too much or too little. It seems really chill to me, doesn’t provoke much of an emotional reaction but I do think it’s very sweet, which is nice sometimes too.

Would I read it again: No, but I think (?) it’s supposed to get some kind of tv adaptation (drama or donghua, not sure), and if that happens, I’ll watch it.

Didn’t Know the General was Female

Author: Rong Qing

Quality: 4

Enjoyment: 6

Comments: Not the greatest thing I’ve ever read, but cute. It’s short, and a little lesbian fluff is never a bad thing. Writing is a bit weak and the plot is basic, but the characters are enjoyable and I liked it overall.

Would I read it again: No.

Wrong Way to a Demon Sect Leader

Author: Yi Zhi Dayan

Quality: 4

Enjoyment: 7

Comments: Again, not the greatest in writing or plot, it’s a bit shallow. But I found the idea of it to be entertaining, and actually liked it more than I would have assumed. It’s fairly short and cute, like a good summer beach read.

Would I read it again: Probably not, but possibly, if the stars align.

Female General and Eldest Princess

Author: Please Don’t Laugh

Quality: 7

Enjoyment: 6

Comments: A very good first effort, but the writing is a bit weak. It’s slow to start and I don’t think the political plotline is spectacularly strong. Some things were left unexplained, and her sense of battle tactics and fight-writing were very confusing, definitely room for improvement. I don’t think it’s as good as people say, but she writes with the air of someone who will continue to improve. And also, a lesbian author writing lesbian stories so that’s a plus. Overall I enjoyed the experience, this story is definitely worth a read.

Would I read it again: Maybe, but probably not.

Sha Po Lang

Author: Priest

Quality: 7

Enjoyment: 7

Comments: Originally I rated this one higher, but on later thought I realized that I actually enjoyed Liu Yao more. I personally have issues with the way Priest writes, and this book showed a lot of them. Characters were okay, I did like the main couple, but side characters were weak as usual. The plot is pretty good, though not great, and I think some of the pacing is off. Some descriptions were confusing, but that could be a translation issue. Overall, still a pretty good political drama, but I would say that of the three I read, this was the Priest novel with the least impact on me.

Would I read it again: No. But I will watch the live action if it ever gets made.

Guardian

Author: Priest

Quality: 6

Enjoyment: 5

Comments: I love Shen Wei and Zhao Yunlan, thought the plot was interesting, and there were some enjoyable moments. But it has all the problems I usually have with Priest in addition to some choices that offend me as a queer reader. I spent about 75% of the time reading while pissed off. And actually the fact that it had a happy ending kinda bummed me out because I love a good tragedy. Overall, I can only give it an average score. If you like Priest, you’ll like this one too. I’m not a tv person but I binged the hell out of the live action, I really loved it, so I was sort of disappointed that the source material didn’t seem as strong as I had assumed.

Would I read it again: No, but I will happily watch the live action again some day.

Jing Wei Qing Shang

Author: Please Don’t Laugh

Quality: 9.8

Enjoyment: 10

Comments: I have to start off by saying: damn girl. The improvement evident in this book is absolutely insane. A few minor issues prevent me from giving it a 10 out of 10 – her transitions are still extremely abrupt, the ending is slightly weak and some plot points remain unresolved, and her use of narrative repetition is too heavy-handed for my taste. Other than that, this book leaves me almost speechless. Very similar to Female General and Eldest Princess, there are many similar themes and events. But while I thought FGEP was fairly cute, I like this one way better. If you like angst, political intrigue, and lesbians, you should definitely read this book. I have no doubt that Please Don’t Laugh will continue to improve in the future, and I really look forward to following her career.

Would I read it again: 100%, I absolutely intend to read this again sometime in the future. It’s very long and very dense but delightful and ultimately worth it.

#lano reads danmei #Fox Demon Cultivation Manual #lano reads baihe #book reviews

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hellzyeahthewebwieldingavenger · 5 years

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Absolute Carnage #1 Thoughts

Absolute Carnage is an Absolute Triumph!

Do not get it twisted. I will not be covering older or future issues of Cates’ Venom run. Nor will I be covering every tie in issue for this event. In fact I was not planning on covering the main book in the first place.

But after reading it I now will be and have put it on my pull list.

Cates’ Venom work has been tremendous despite the detractors.

There have been some writing issues with older Venom continuity, but those issues are the by product of Cates desperately loving this character and the symbiote franchise and wanting to make Eddie Brock and his version of Venom a viable anti-hero protagonist character going forward.

To be clear I still fundamentally oppose that direction for the character, but if it must happen (and sales practically demand it happen) then yes we should have good writing accordingly. Cates has thus reinvented Brock and Venom (without a total overhaul) and rendered them fascinating, sympathetic, but still with plenty of edge and moral ambiguity.

He has not done the same for Carnage. He has simply taken Carnage and made him true to what he always was. A force of nature, a force of chaos and death with a Freddy Krueger wisecracking personality.

However what Cates has done for Carnage is reframe him in this story.

Whereas before Carnage was a spikey, sharp obstacle heroes needed to band together to bring down, now he’s beyond that. As he says, he is a God now, or at least almost Godlike. A Red Grim Reaper that even a monster like Venom is rightly afraid of.

Heroes might be able to stall him for awhile, but never stop him.

Much like Freddy Krueger, or Jason Voorhees or any of the classical slasher villains then, Carnage has been reframed as a horror monster. But imagine Jason, Freddy or Michael Myers with the almost Lovecraftian raw power behind them.

Scary right? And that’s what Absolute Carnage is. It’s a superhero horror story.*

It gets scarier when you consider Carnage isn’t even himself the real horroer, he’s the harbinger of it. Knull, the literal GOD OF THE SYMBIOTES is the ends through which Kasady is the bloody red means. Knull has recently appeared in Cates’ Silver Surfer run and it only just struck me writing this that in a sense Carnage is to Knrull what the Surfer was to Galactus.

Carnage is the Herald of Knull.

Kasady has all the over the top immense abilities he had before as Carnage, only now they’ve been cranked up to 11. Which considering the whole point of Carnage was that he was cranked up to 11 makes Absolute Carnage 22? He’s less vulnerable to sonics and fire and injury in general. His anatomy is contorted to the point where when bonded with the symbiote his waist is as thin as his spine and he’s HUGE. He can generate other symbiotes and bond them to others making them his footsoldiers.

He’s seemingly Absolutely unstoppable.

In this sense Absolute Carnage is a true blue sequel to Maximum Carnage. Like so many sequels of the time it is BIGGER. Whereas in Maximum Carnage the question was how far should the heroes go to stop Carnage, in Absolute Carnage the question is rather how on Earth CAN they stop him?

It’s Carnage taken to his absolute logical conclusion and I love it.

Now in fairness all that is contingent upon you liking Carnage in the first place. I’d still recommend regular ASM readers skim the issue as events from it will be relevant, but if you don’t like Carnage in general maybe don’t buy this.

However the issue holds other merits.

Cates is a unique beast amidst symbiote writers because he actually seems to unrepentantly LIKE them.

In the history of all the symbiote comics writers have either approached the characters as enjoying Venom and/or Carnage or parts of their lore but being very selective. Flash Thompson’s run on Venom for instance carried an undercurrent of, if not contempt, then elitism towards Eddie Brock and all the other symbiotes hence Remender (or was it Bunn?) sought to clean the slate of them. Bendis infamously didn’t even want to do Venom in Ultimate Spider-Man, rarely used him after he did and totally reframed the symbiotes in Guardians of the Galaxy to be glorified gooey Green Lanterns.

And I will be the first to admit I fall into the cadre of people who are extremely selective when it comes to symbiote lore. My love for them is through the lens of how they fit in and enrich Spider-Man’s mythology, not appreciating them on the basis of their own mythology.

Cates is entirely different. He is first and foremost a Venom/symbiote fan. He is someone, and there are interviews corroborating this, who as a kid had one of his formative comic book lover experiences with anti-hero 90s Venom and stories like that.

This is why so many of the Web of Venom comic books that have been setting up this event have directly or indirectly referenced those 90s Venom books, even if it’s just in the name of the comics. Unleashed. Funeral Pyre. Cult of Carnage. Carnage Born. I mean he’s the first comic book creator to have ever expressed adoration for Carnage Mind Bomb, the first ever true blue Carnage horror story that is his equivalent to the Killing Joke. It’s obscure, macabre, twists and gruesome. But it lays out for you everything about who Carnage is. He hasn’t got layers. And that is the point.

Cates’ love for those stories, for the symbiote lore oozes (pun intended) in his Venom work and this comic. He WANTS to use every corner of that lore that he can and add to it. He wants to tell the greatest symbiote epic of our time. He wants to do the ultimate Carnage story, the ultimate Venom story.

Hell he WANTS to do a Maximum Carnage tribute because he unapologetically loves that piece of hot trash.

And he wants you to love that stuff too. I don’t agree with the decision to do stories like this because I feel Venom and Carnage should be just about the only symbiotes around and be nothing more than Spidey villains at that. And yet...I feel his enthusiasm pulsing from the pages of this comic.

His love and excitement for using these characters and doing something this big is as palpable as it is infectious. And so he’s won me over. I don’t agree with doing this story but I’m so onboard for enjoying the ride.

It helps that it’s honestly very well written.

He’s done his homework (and symbiote canon is a fucking mess let me tell you so that is impressive), he throws out deep cut references to stuff like Marvel Knights or the Life Foundation. More than that when you look at this issue and his Venom run up to this point you can see how meticulous he planned it. it could go way off the rails of course, but right now he’s firing on all cylinders. Carnage was appropriately foreshadowed and built up, his escapades were well documented in various issues preceding this event. The Knull mythology was clearly established, the stakes were appropriately set up.

And just in case you disagree he spells it all out for you concisely in the first few pages of this oversized issue. I’ve been reading the run and even I appreciated the refresher course.

He doesn’t just give us a larger than life doomsday scenario though, or even a ‘a bad guy is doing bad things we need to stop him’ plot. By making everyone to have bonded to a symbiote a target it means characters we are emotionally invested in, even if they are villains we love to hate, are in jeopardy.

And at the beating heart of it all is the story of a father and a son.

Eddie Brock and his son, unbeknownst to the boy of course. On a thematic level this is relevant because Dylan and Kasady/Carnage are both the products of Brock and the Venom symbiote. But the fact that this is all about Knull, the ‘father’ if you will of all symbiotes makes this a metaphorical family drama.

And Peter Parker to my surprise and delight is a part of it. I didn’t expect him to show up or to seemingly have the starring role he will have, and yet here he is. That’s what got this onto my pull list.

If there are any criticisms to be had it relates to Spider-Man continuity.

Peter is nonchalant over Brock knowing who he is.

Spider-Man in costume refers to Normie as his Godson multiple times in front both Normie and Dylan.

Norman Osborn may or may not still have the Carnage symbiote (the art makes this a bit unclear).

Spidey is very chill with Brock.

These do bother me, they are objectively writing issues I will not deny that, even though my thrill at the rest of the comic means on a pure enjoyment level I can’t bring myself down by sweating them.

My only defences would be that Peter upon learning Brock is once more aware of who he is would probably not react that badly to the information for a few reasons. First of all he was already living with the distinct possibility that Brock already knew the truth about him. The symbiote had known for a long time and had been bonded to Brock for awhile now so it was always a possibility. Second of all the Brock/Venom of the 80s and 90s is not the Brock of the current run. That is to my personal chagrin, but nevertheless Peter knows Brock and the symbiote are nicer more moralistic folks now and if they still held a grudge they’d have come after him, with or without knowing who he was.

My other defence is that this is not a Spider-Man story. It is a Venom story. It is in essence Spider-Man/Peter Parker filtered through the lens of Venom and the needs and requirements of serving Venom’s character and narrative. Whilst a major problem in Maximum Carnage was serving Carnage and Venom at Peter’s expense, that was a Spidey story in his titles, this is Venom’s story so giving him the spotlight, short-changing Peter’s continuity for the sake of propelling the plot along, that’s fair game. I don’t like it but it’s fair game.

Similarly Peter becomes Brock’s supporting character in this story and an effective one at that.

Brock recognizes Spider-Man is his best ally to resolve this situation even though he hates him. We learn more about Brock as a person through his feelings towards Spider-Man. Where once irrational hatred flowed now there is surprisingly...jealously. Spidey often gets a bum rap in the press and yet Venom is envious of that because in and out of the costume it’s much better than his lot in life.

There is also two wonderfully poignant moments between the two. The first is where Peter learns Dylan is Brock’s son and that Dylan doesn’t know this. We see the hurt Peter feels when he relates how terrible it is to not know who your father is. The second poignant moment is when Brock is distraught that Carnage must have desecrated the body of his deceased ex-wife and Dylan’s mother. For a character like Eddie Brock who’s so often (unfairly frankly) been dismissed as lacking depth this is a shocking moment of sadness, compounded by the fact that Dylan doesn’t know who Ann was. In this same moment Spider-Man looks remorseful too, which is a subtle piece of continuity porn done right by Cates. Ann was first introduced in ASM #375 (the issue setting up Brock’s solo series actually) and later died in ASM vol 2 #19.

What follows is another Spidey/Venom team up but arguably the best, or at least one of the best ever, as they encounter the Maker a.k.a. Ultimate Reed Richards which is a historic moment as Spider-Man finally gets to meet the counterpart to his old friend. There is plenty of other connections between hem too. The Ultimate Universe is innately associated with Spider-Man more than anyone else, the Maker like him was a young genius and they were both among the Secret Wars 2015 survivors. We get Normie Osborn returning for the first time since Fresh Start, a welcome return at that as I always love seeing his relationship with Spider-Man acknowledged. Then we get a nightmarish sequence set in Ravencroft with yet more well done continuity porn. John Jameson, veteran of Carnage Mind Bomb, Carnage: It’s a Wonderful Life, Conway’s Carnage run and 90s Ravencroft stories shows up to pay off his appearance in Cult of Carnage earlier this year. Norman Osborn returns in what will hopefully fix the asinine Red Goblin story arc. Spidey and Venom have their backs up against the wall (literally) and facing down Carnage, an army of Carnage infected psychos and Norman Osborn with the Carnage symbiote.

It’s been a very long time since I’ve ended a comic thinking ‘How WILL they get out of this?’

To tie aaaaaaaall this together is Ryan Stegman’s stellar art.

I’ve said it before and I will say it again, Stegman is the best new Spidey artist of the 2010s. He’s Bagley, JRJR, Frenz levels of awesome. He’s also the perfect fit for symbiotes as his art seems to be somewhat influenced by McFarlane co-creator of Venom despite what fucking fools (like RDMacQ) might think. His style here is dynamic, detailed, funny when it needs to be, scary when it needs to be, awe inspiring when it needs to be.

His double page spreads are eye candy and the one depicting the pit of bodies feels straight out of a late night drama. It’s just brilliant.

Never before has there been a Carnage or a symbiote story that’s felt this epic, this ambitious, this sheer mad and audacious in scale.

I can’t wait to read future installments.

Cates in this issue, and his run in general, has somehow managed to recapture the allure of the symbiotes that I think 80s and 90s fans felt when they first fell in love with them.

If you don’t like Carnage or symbiotes inherently I strongly recommend you skip this. If you even vaguely like them though I cannot recommend this enough.

*Carnage has been making the transition into a horror character for awhile now. Carnage U.S.A., which is recommended reading for this event, felt very similar to a Dark Horse horror comic only with Marvel superheroes. Gerry Conway was explicit about how his Carnage ongoing series was effectively his take on Tomb of Dracula.

#Absolute Carnage #Carnage #Carnage symbiote #venom #venom symbiote #symbiotes #eddie brock #Cletus Kasady #Spider-Man #Peter Parker #Dylan Brock #Ann Weying #Norman Osborn #Green Goblin #normie osborn #Gerry Conway #Donny Cates #Ryan Stegman #Maximum Carnage

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septembercfawkes · 5 years

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Breaking Writing Rules Right: "Only One Impossibility"

You may have heard of the "one impossibility rule," the idea that the audience's suspension of disbelief can only handle one impossible thing. In this article, I'm going to talk about what the rule is, why it's a rule, and when and how to break it.

What's the Rule?

When we write, we invite the audience into our fictive universe. In order to take part, the audience must have what's called a "willing suspension of disbelief," meaning that they are willing to enjoy the story even though it's not real.

For example, maybe your story has fairies in it. But fairies aren't real. However, the audience is willing to accept that for the story.

The Rule:

In a story, only one impossibility can exist.

Why It's a Rule

Most audiences can only take in so much impossibility before their suspension of disbelief is no longer . . . suspended.

They might accept with the premise of the story that there are fairies. But if your story has not only fairies but also aliens invading the planet, there is going to be a problem.

That's two different impossibilities.

And they don't go together.

Take that a step further and add the fact that in your fictive universe, dogs have overcome humans in the species hierarchy, so they are the ones running society--and now we have three impossibilities.

It's too much. Every time you add an impossibility, you narrow your audience. With these three, I've really narrowed audience.

My examples are a bit exaggerated, but these are the sorts of things that the one impossibility rule is referring to.

However, it can sometimes be used in other situations.

One thing the audience has very little tolerance for is when human behavior doesn't make sense. Maybe your protagonist's mom dies, and he doesn't even grieve. That seems impossible. And the more you stack on unlikely human behavior, the more the audience's suspension of disbelief wanes.

For more on problems with unbelievability, see "Inconceivable! Dealing with Problems of Unbelievability."

How to Break It

By now you may have thought of one or more stories that clearly have more than "one impossibility." In a high fantasy, you may have fairies and dragons and dwarves and elves and centaurs . . . the list goes on.

Or maybe you thought of a rarer rule break, like a story that deals with both an alien invasion and restoring faith in God. Putting a belief of God in can be considered a big no-no in the industry when writing science fiction. From one perspective, you are dealing with two impossibilities. (I'm not saying I feel this way, I'm just talking about the industry.)

Or maybe you thought of something stranger still, a story where part of your soul lives outside your body in the form of an animal, where one of the intelligent species are (randomly) bears, where there is a clan witches, and some of the main characters are quite literally at war with God.

Clearly this rule can and has been broken. So let's talk about how to do that.

1. Use an Umbrella

The reason high fantasy gets away with so many impossibilities is because everything actually fits under one big impossibility: an imaginary world.

Sure, in our reality dragons and elves and dwarves don't exist.

But in a completely fictional world, like Middle-earth, all of them do, and more.

Tolkien, like basically all high fantasy writers, gets away with so much impossibility by lumping them together under one big one. Other examples include Alice in Wonderland, The Chronicles of Narnia, and even Star Wars (in a galaxy far, far away).

Even though Harry Potter includes the real world, it does this same thing--everything impossible comes from a magic society within our world, that's the umbrella.

The umbrella does not even necessarily need to be a world or society. Those are just the obvious examples. It could be an origin, history, or something else. The idea is that the one impossibility encompasses and explains all others.

2. Make Connections

Similarly, the audience is more likely to take in more than one impossibility if they connect in some way. Maybe you are reading a novel that has vampires in the real world. Then the second book in the series deals with werewolves. What?

But it's okay, because Stephenie Meyer made them connect by explaining that werewolves exist because of the vampires--they are the natural predators of vampires (yes, I just used Twilight as an example) (yes, I know other stories put vampires and werewolves together as enemies).

When you use this method, you usually want to build off what the audience already knows. They already know about the vampires, great. So when you explain the werewolves, make sure to relate it to the vampires. This will make it easier for the audience to swallow.

Of course, there are some stories that don't do that. Usually in those cases, the writer may introduce them as two separate things and explain the connection later. If you chose to do this, you should know that it's more difficult to pull off, and it will likely narrow your audience, because people might be rolling their eyes and stop reading before they get to the connection. However it has and can be done.

In rare occasions, the connections may not be concretely obvious, but instead thematic. What do invading aliens have to do with regaining faith in God? Well, nothing, directly. Except that it works together thematically in a beautiful way in Signs. Keep in mind, though, that this is one of the reasons some people hate that movie. So for some people, it did not work--in other words, it narrowed the audience. That's fine, if you are willing to pay that cost and take that risk.

3. Shift Context

Sometimes you can get away with multiple impossibilities if you don't present them as all impossibilities to begin with. In Interstellar, we are dealing with some pretty heavy science fiction, but then on the other hand, one of the main characters believes there is a ghost in her room.

I would hazard a guess though, that most of the audience didn't believe there was a real ghost in the room. Instead we can accept that the character believes that. As we get more information and the context shifts, we realize the "ghost" really was a person.

Though worth noting is that it is still ultimately explained by science, so the movie also connects it the other impossibilities.

But my point is, you may be able to do something similar. Maybe we think the second impossibility is something other than it actually is, and it's truly explained later.

4. Foreshadow

Sometimes you can get away with more than one impossibility if you foreshadow it right.

I know a writer who saw Arrival and loved it up until the ending, where the entire story was "ruined" because it "broke the one impossibility rule."

I'm going to have to agree to disagree with that. All of the impossibilities, especially the last, were foreshadowed from the beginning, so when I encountered them, as an audience member, I was prepared.

Also notice how that movie also incorporates context shifts and connections.

The story essential has three impossibilities in it, but in my opinion, they pulled them off stunningly.

However, it didn't work for that one writer, so, like I said above, you are always taking that risk.

But then there are people like me and my family, who loved the story even more and were brought to tears because of how it incorporated three impossibilities.

Basically if you are breaking the one impossibility rule, you are probably polarizing your audience, which is sometimes a good thing, if you want word-of-mouth advertising.

5. Utilize Tone

Tone can go a long way in letting you get away with the impossible. This is especially the case with what are called "unreality" stories.

Unreality stories take place in what's recognized as the real world . . . but it isn't. It's an unreality. It's best explained through examples. Here are some unreality stories:

A Series of Unfortunate Events

Charlie and the Chocolate Factory

Matilda

Monty Python and the Holy Grail

Edward Scissorhands

The Secret Life of Walter Mitty

Like I talked about in the last section, you may realize that unreality stories can be very polarizing: You either love it, or you hate it.

Notice how all of the examples I gave have more than one impossibility (sometimes completely unconnected), but for audiences okay with the unreality genre, that's not a problem. (Which reminds me, it's also worth noting genre does play a role in what you can get away with).

If you establish the right tone, you can get away with almost anything.

6. Acknowledge the Impossibility

In some cases, you can get away with multiple impossibilities if you validate to the audience how impossible, unlikely, or strange it is, on the page. Since I have two posts that go into this, I'm not going to reiterate everything, but you can read more here and here.

7. Keep the Reader Hooked and Invested

Sometimes you can get away with more than one impossibility if the reader is already deeply invested in the story. They may be so hooked, so pulled in, that adding a second impossibility isn't going to ruin it--as long as you don't do anything too crazy.

Ask yourself (and maybe your beta-readers), is adding this one impossibility really going to stop the reader from reading and enjoying the story? It might give them pause, but you might be able to get away with it. After all, it is a story.

8. Start with the Most Familiar Impossibility

Everyone knows what a dragon is, even if they aren't real. So it's easier for the audience to accept that.

In Spider-verse we are dealing with two impossibilities that don't . . . really even connect . . . or fit under an umbrella. 1 - that radioactive spiders can bite people and turn them superhuman. 2 - that there are parallel realities. Those are both impossibilities, and they don't actually go together.

But the audience is willing to accept it, because they are so familiar with Spider-man and superhero movies. Adding parallel universes to it isn't a big deal. (Not to mention that parallel universes have been long established as part of the comic book world.)

The more familiar something is, the easier it is for the audience to accept and digest it.

Kitchen Sink Stories

There is a term in the industry called "kitchen sink." It's the basic idea that a writer has a lot of ideas, but they are throwing them all into one story. It's like a kitchen sink. It has a bit of this and a bit of that. A scrap of old pizza, an onion peel, a soggy fry. Sometimes when writers are trying to include a lot of impossibilities, it turns into a kitchen sink story. In some cases, you may definitely need to divvy out ideas into different stories. But in other cases, it's amazing which seemingly unrelated ideas you can make work, especially using these methods I outlined.

It's hard for me to tell everyone that their "kitchen sink story" isn't going to work. Because it might.

I feel like the best example of this is His Dark Materials. It has everything, and the kitchen sink. But in England, it became a hugely successful series. Yet so many of the concepts don't seem to belong in one story.

- Parts of people's souls live outside their bodies in animal forms.

- There is an intelligent species of bears (bears?? Why? That's so random!)

- Oh yeah, and there are also witches. (oookay . . .)

- And angels

- By the way, there is also a religion reminiscent of Christianity, but it's antagonistic

- Also, God is in it

- And there is this device that allows the user to know all truth

- It takes place in England . . . but it's sort of . . . somewhat . . . steam-punky

- Oh yeah, also, not only is this fantasy, but it's also science fiction. We will definitely be talking about dark matter and running experiments with computers

- Also, surprise, I know you didn't know this from the first book, but our world, the real world, is actually part of this same universe

- Aaaand there are spectors

- We'll also be following people into the afterlife. . . .

Okay, seriously, that whole series is a kitchen sink story!

. . . which is also why it was so revolutionary. It was unprecedented.

So . . . while it's very difficult to pull off . . . it's not impossible.

You might be thinking, "but everything fits under the umbrella of a parallel world." Dude, it doesn't. We don't even know parallel worlds exist until the second book.

It's a kitchen sink.

You Can Break the One Impossibility Rule . . . with These Risks and Consequences

Depending on what impossibilities you decide to use and how you implement them, you run these risks:

- Ruining the suspension of disbelief

Your audience may still not be able to accept your impossibilities. In truth, some readers are unwilling to even accept one. So they may stop reading.

- Narrowing your audience

This may lead to a narrower audience. Maybe most people don't like M. Night Shyamalan's movies (he breaks a lot of writing and film rules). That's okay. Enough people like him, and he obviously isn't trying to appeal to the masses.

- Polarizing your audience

Some people will absolutely hate stories that use multiple impossibilities. But other people love them. Polarizing your audience isn't actually necessarily a bad or good thing in and of itself--it depends on your goals.

These are risks and consequences, but they do not necessarily influence success. Some people cannot read any fantasy, yet it's one of the most popular genres. Not everyone likes Charlie and the Chocolate Factory, but it's now a children's classic. Even a kitchen sink story has been highly successful.

Can you break the one impossibility rule? Yes! But like breaking any rule, it can be tricky.

Next week I'll be talking about critique letters and editorial letters, and how I write one. See you then!

#writing tips #writing tip #writing tips and tricks #writeblr #writing a book #fiction writing #creative writing #writing help #writing helps #writing advice #writing lesson #help for writers #author #editor #fanfic #fanfiction

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zdbztumble · 5 years

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Penultima Raving (KH III Spoilers)

No, I haven’t finished the game yet.

I must be near the end, as I’ve ended up in the crazy windmill world from the opening sequence, but as there was quite a bit that happened in the short span of story progress I made today, I decided against waiting ‘til the finale to do another write-up.

Where I left off last time was Sora piecing himself together - literally - and then proceeding to rescue everyone but Kairi in the various Disney worlds. That Kairi didn’t need rescuing, but was in fact keeping Sora from fading away, and was there to guide him back to the realm of light, was a great idea. The line “you’re safe with me” was wonderful, and a good start to a pay-off on her promise to be the one to keep Sora safe this time. But a great sequence in isolation can’t achieve its full potential impact when the character arc that it’s a part of is so neglected prior to that point. And as for the follow-up to that moment...well, let’s come back to that.

I feel torn here, because there’s quite a bit in this section of the game that’s brilliant in concept and beautiful to look at. If the execution weren’t so spotty, then this post would be much shorter, and much more of a SQUEE! in text form.

Going point by point:

- The cutscene when you enter the Keyblade Graveyard the second time, opening in the same way as the first, was a bit confusing but not a bad idea. But having Terra defend his friends against Terranort was. If I’m just starting to get the hang of how the Xehanort Horcruxes and Sora’s “host to three hearts” business all work, I still can’t figure out how Terra’s heart relates to his possessed body. More importantly - after Sora goes through the hard work of rescuing everyone and turning the clock back, having another character rush in to claim the Hero Moment leaves him feeling like a bystander in his own story. This isn’t a new problem in this level; Sora was a glorified bystander in the two Disney fairy tale worlds. Other characters pointing out how special and important Sora is throughout the game, besides being annoying and actually undermining Sora’s special qualities, make it all the more obvious when he gets left out of important action.

- Surfing the Keyblade stream is fun, but it’d be more fun if the combat didn’t just amount to hitting a single button in rapid succession, and if it wasn’t made confusing as hell with a random shout-out to the mobile game.

- The multiple Demon Towers surrounding all our heroes made for a very dramatic visual and a formidable sense of menace. It’s a shame I never got a chance to see how challenging they actually were, because this entire sequence is left as a cutscene. I imagine there are serious technical challenges to putting together a battle where Mickey, Riku, Aqua, Ven, Kairi, and Axel are all battle partners to you along with Donald and Goofy, but this just makes me think again that a toggling system that let you battle as members of various parties would be a great solution.

On the other hand, this sequence gave us Master Yen Sid casting his Fantasia magic all over the place, and that was a truly unexpected pleasure. I don’t care much for him being a Keyblade Master on top of being a wizard, but seeing him be a wizard was amazing. Now all we need is a Sword in the Stone world where Merlin can cut loose.

- Splitting the party up and leaving Sora to find them in a maze is a great idea, as is pairing enemies that were formidable bosses in their own right together to face him. I didn’t find any of them that much of a challenge, but I think I’m overleveled (spent a bit too much time having fun with the ship battles in the Caribbean, I think.) The bigger problem with these battles was the pacing, with cutscenes interrupting the gameplay entirely too often. Each of the villains is given an almost-identical death sequence, and with pretty much none of them being likable (or even memorable in some cases), the efforts at giving these moments some pathos, and the attempts to create moments between the dying and Sora, all fall flat.

- Did I miss something about there being two Replikus? I have been so confused about this ever since the Big Hero 6 level. The one running around being an evil Organizer was confusing enough, but another one living inside Riku? And being able to spontaneously emerge from his body to neutralize the evil one and leave behind an empty replica for Namine, who is also in this game by the way? The fuck?

- This whole sequence serves as a great illustration of the problems that come with having too big a cast. Terra gets his Hero Moment back in the Graveyard (and virtually the same one in the maze), but he gets written out of the action pretty quick. Aqua and Ven do too, as do Axel, Mickey, Riku, Kairi (still not back to her yet); all the Keyblade Wielders of Light get shoved out of the way rather unceremoniously unless the time for their one brief flash of brilliance (if they even get one), while the bulk of the story is driven by the antagonists. But as I said, the members of Organization XIII are still not very interesting, and there are too many of them for any one to stand out.

- What the fuck is Xion doing back here? She barely made sense as a character in 358/2 Days, but her death was one of the very last to have any sense of permanence, and to give the concept any meaning in this world. That’s now undermined even worse than it already was. On top of that, it seems obvious to me now that all those conversations between Ansem and “Ansem” that I thought might be alluding to Kairi’s part were actually about this blank slate of a character.

- And now we’re back to Kairi.

Xehanort cutting her down didn’t surprise me. I’ve been expecting something like this to happen from early on in the game, though I wasn’t sure whether it would be Sora or Kairi who was killed. In part, this is because I stumbled on some sad fan art that, though lacking any description or anything to tell me that it was a moment from the actual game, was tagged “spoilers” and made me nervous. A bigger tell for me was the fact that most of the Disney movies used have a moment of sacrifice for a loved one. Meg shoves Hercules aside, and Herc in turn offers his life for Meg’s; Eugene gives up his chance to be healed to free Rapunzel from Mother Gothel; Anna rushes forward to take a blow for Elsa; and Tadashi and Baymax both sacrifice themselves in Big Hero 6. At World’s End also sees the lovers Will and Elizabeth cruelly separated by Will’s death, with Jack sacrificing his chance of immortality to give them some measure of happiness.

Between that, and all the taunting by Organization XIII, there was a sense of foreboding early on in my play-through that something was going to happen to Sora and/or Kairi, and for all the missteps in the handling of their relationship over the years, those kids are still cute as hell, so I was emotionally invested. But then, in each of the worlds where a death or sacrifice happens, no connection was made by Sora, or any other character, to him and his bond with Kairi. In previous games, moments of much less importance would set him or someone else off, but not here. In some cases, that makes sense (Sora wouldn’t even be aware of the sacrifices in Big Hero 6) but for those moments that he literally bares witness to, it seemed very strange. While that was something of a relief, as it made any potential death seem less likely, it was also annoying, as I’d given the game credit for selecting worlds with the same thematic idea as a neat bit of foreshadowing that seemed destined to be an unfulfilled coincidence.

Then, when Kairi leads Sora back to the realm of light, Sora has a brief flash of Eugene and Anna’s sacrifices, and the connection was finally made. (Will’s death gets left out of the count for some reason.) It was very little, very late in the game, but it was something, and I started expecting a death again. But this was after the neglect of Kairi’s character and of her relationship with Sora became apparent, and the emotional investment did not return - at least not in full force.

It is rather cliche, killing the heroine (or letting her die) to motivate the hero, but that’s not a reason not to do it if it can serve the story and be executed effectively. Given how important Sora and Kairi are to each other, it’s the ultimate extreme that you can take with their arc. So I can’t object to the idea out of hand. And had Kairi been kept a prominent presence throughout the game and her training as a Keyblade Wielder made apparent and meaningful, her being cut down after demonstrating skill and bravery would have made for an extremely powerful moment.

That’s not what we got.

What we got was everything I objected to in my last post about Kairi, with a vengeance, in this entire section of the game. While I didn’t have the same experience of her being an incompetent battle partner that others have (she even pulled off a quick heal in a pivotal moment), she (and Axel) could have been removed and I wouldn’t have had any more trouble with those bosses. Of all the Seven Lights, Kairi’s consistently the one with the least screen time and the least to do in the cutscenes. The way Xemnas and Xehanort handle her, she’s reduced to a prop, a passive object. And when the moment of slaying comes, it lacks the dramatic flare and emphasis that was given to the deaths of literally every single member of Organization XIII, or to the revivals of Terra and Xion. This - the death of our supposed tritagonist, who is the prime motivating force for our hero and who plays a vital role within this fictional universe as a Princess of Light - is quickly tossed out and moved past.

I’ve said it before and I’ll say it again; this is not about Kairi being a favorite character of mine (until she’s developed more, I can’t call her that.) This is a character who is supposed to be important. Not just important, but central. You can’t maintain the credibility of that idea if you leave this character sidelined for game after game after game, and only ever trot her out for when the plot requires something to happen to her. Again, the moment where Kairi tells Sora “you’re safe with me” is a good moment. Sora’s cry of “why her?” is striking; the implication is, basically, “out of all my friends that you could have killed, she was the one I would choose to save,” and that is a powerful moment. But moments can’t cut it on an arc this important, not after three games disregarded it and this one spent nearly all its time on the convoluted mess of the villains’ scheming.

That no one in the development process of KH III (to say nothing of the games between it and II) ever realized this, or recognized the problems that it would cause at the climax of this, the culmination of the entire series up to this point, is truly baffling, and I can’t imagine that there’s any way that the story can dig itself out of this mess in the short time remaining on the game.

#critique #kingdom hearts #kingdom hearts 3 #kairi #commentary #disney #z's crits

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the-nysh · 6 years

Note

Whats your opinon of kiri//baku and todo//deku?

!!!!! 👀 Oooh, *takes deep breath* so I’ve finally been askedthe big question. (Thank you for courteously using the /s to block the ship names out of the tags) Because I DO have opinionsabout them. I’ve mostly kept them to myself, but since I’ve been prompted, Iwill try to be as honest and thorough as I can. :’)

Disclaimer: If you high-key shipeither of the two, please proceed with caution!

To preface:

If it wasn’t already obvious from the content I reblog (and rave about in thetags), my decisive fav character of the series is Kacchan, and similarly, my otp of the series is with him and Deku(as bakudeku, aka bkdk for short – which is how it’scommonly called on twitter). So going in, that’s my given stance already.

But it wasn’t always this way! :O When I first started theseries I went in pretty cautious, wary, and undecided; I actually never plannedto fall so hard for either the character or the ship (and I rarely ship things tobegin with). That is, until Hori repeatedly bludgeoned me in the face and heartwith all the reoccurring and carefully consistent character development, to thepoint ch120 became the final, decisive nail in the coffin - the point of noreturn for me. :’3 So now, I’m fully invested in seeing how their story pulls through to the end, nomatter what it might become (it doesn’t even need to be shippy). With them thematically established as two sidesof the same coin – on opposite ends of the same spectrum of heroism – the twohalves of All Might who both win and rescue:I want to see how they push each other towards greatness and mature into a pairof the best heroes. It’s a long-term investment of hope and a case of slowburn positive development, in direct (and on purpose!) contrast to its rockyand strained foundations (they ARE immature and emotionally constipated teensafter all), but it’s all been carefully laid out through a steady path ofnarrative foreshadowing. Where the prospects at the end of that path – of mutualsupport, understanding, reconciliation, cooperation, teamwork, trust – arebeautiful and rewarding things that make their ongoing journey of growth worthit. So…for Hori to smash any original expectations I might have had, and makeme fall hard for something I never intended to happen, are examples of whatI consider GOOD writing.

After I realized this, I went and did my research. Which inmy case, is reading up on countless character/relationship meta and fanfics togauge how the fandom sees their potential too. So I am very aware of the multiple sides of existing arguments and the dramathat’s already happened in the fandom (from across both tumblr and twitter). Iknow the western fandom considerably favors kr/bk and td/dk (at least for now), BUT in the eastern fandom,it’s actually bkdk that’s more popular. Hmm, curious why that is?

One of the reasons is partly thanks to the widespread availabilityof fan mistranslations (FA group) that have greatly exaggerated certain characterizations(ie Kacchan), leading to fandom fearmongering and the perpetuation of stigmasagainst the canon development of certain relationships (ie bkdk), which in theoriginal text, were never nearly thatflanderized or as offensive in context to begin with. Include also, adifference in cultural expectations/values, and we get a prickly concoction ofmisunderstandings ready to brew. It’s a poor and unfortunate case of important subtleties/complexitiesgetting lost in translation, while the bad things are blown way out ofproportion, to the point the story’s original intent is sidelined, or worse, canonis deliberately obstructed by translators who already dislike seeing suchcontent (because it’s ‘not their ship’) – so they prevent and hurt othersfrom fully enjoying the progression of the series as the author intended. Peoplecan like what they like (that’s perfectly fine), but in all of my lurking, Ihave SEEN examples of these things (andworse) actively happen, and quite frankly, the spread of this blatant toxicityand compulsive collective ignorance sickens me. So, I choose not to getinvolved with it, and instead focus on the positive.

Because of my preference for meta and faithfulinterpretations of the text (making sure available translations are reliablefor analyzing, for instance), I’ve gathered enough information (andacknowledged enough counterarguments) to make an educated decision for myself onwhat I value most and want to see from the series. Unless Hori veers offotherwise, I’ll stick by that conclusion and enjoy following the series throughto fruition (regardless of what the rest of the opposing fandom might say).

For example, one of the first dedicated and respectful metawriters – back when only the FA scans were available, but who ALSO providedcorrections from the Japanese text where necessary, came to this conclusionabout Deku and Kacchan’s characterizations:

From ryokure:

“Deku is such a super special case that if a fanfichas him and Kacchan in it - no matter the parings - and they don’t have somecase of mutual obsession, I actually consider that OOC.”

Which, after everything I’ve seen of the characters, I can fully concur withthat statement.

MEANING, if the fandom portrays them off alone, together, or involvedin relationships with other characters and they lack this intrinsic magnetism that binds them together (for betteror worse) – if they can somehowfunction completely normal without being influenced by the presence of anotherand magically not even care about each other anymore, then my suspension of disbeliefbreaks. They’re too OOC. (Unless it’s a fic au where they never met or grew uptogether.) These two are TOO canonically wrapped up in their mutual complexesto simply cut ties, wrap up all their unresolved issues with a band-aid,and essentially ignore a core issue of the series for the sake of ‘shipconvenience’ with others. Their canon relationship is too complex to make such simplifiedportrayals of them believable, or even such flimsy ‘solutions’ for their issuesfeasible. Thankfully, we have Hori actively doing all the hard work for us sowe don’t have to worry about such transgressions like that happening in canon. (InHori’s consistent characterizations we trust!)

Now then, with all of THISestablished, I can finally answer your main question: my opinion on kiri/bakuand todo/deku.

Let’s start with todo/deku:

Because believe it or not, when I was still new to the fandom and in my earlyresearch stages, I actually lowkey shipped them and read plenty of fics aboutthem too! I was open to them as a pair, but still undecided and wary because I didn’t know who to ship withDeku: either Todoroki or Bakugou. I saw all the widespread (western) fandomcontent for td/dk, with the apparent foundations for the ship based on eventsfrom the Sports Festival, where Deku ‘saves’ Todoroki and acts as the catalystto allow him to defrost his issues with his father and realize his true power.I thought, ‘ooh there’s something interesting in there worth looking forwardto; I’ll keep an eye on how canon develops their relationship from here.’

Unfortunately…canon didn’t give me anything else substantial to build on. Andin my case, those are foundations I NEED to be fully on board and convinced fora ship. It was the equivalent of fandom hyping me up for something to lookforward to, with me sitting there with a huge smile and my arms raised inanticipation…only for the rest of the manga to leave me dry. It was a hugedisappointment. Because except for a few scattered incidents, like from theStain arc and maybe the recent ‘it’s ok for heroes to cry sometimes too’moment, canon progress for their relationship has been severely underwhelmingand virtually nonexistent. Todoroki has chilled into becoming a supportive (yetstill socially awkward) friend for Deku yes, but even Iida has had more canon incidents of concern for Deku’s wellbeing,and challenges Deku into becoming a better person/hero with their interactions.(And yet, fandom support for Deku and Iida is virtually nonexistent incomparison, because their friendship resembles the camaraderie between bros, Iguess??)

So then I was like, ‘wait, am I missing something here? WHY does the fandomlove td/dk so much, when their canon interactions are so limited, and the onlybig thing that’s happened between them was all the way back in the SportsFestival??’ So, I went and investigated the potential of their relationshipfurther in fanfics (which are quite numerous and popular on a03 I might add).

After taking a look, I began to see trends. Most td/dk fics are heavily skewed in Todoroki’s favor, tothe point of being practically one-sided in character development. The mainconflict in almost all their ficnarratives revolves around solving Todoroki’s issues with his father and comingto terms with HIS powers, leaving Deku as a passive, supporting participant inhelping Todoroki out with his problems. Which, while the two of them could bondtogether over their missing/difficult father issues, after a while this same familyconflict gets old and stale. What else is there? What about Deku’s problems for equality’s sake?He’s the main protagonist! How abouthis difficulties in learning how to make One for All his own too? Ah nope, hecan’t canonically confide in Todorokiabout the secrets of his quirk, now can he. ;) Oh wait. What about his problems with Bakugou? Is the biggest elephant in the room going to be ignored for the sakeof typical couple melodrama, or is my fav character going to be demonized so that Todoroki, the ‘prince’on a white horse, can ‘save’ Deku, the ‘damsel’ in distress, from him?! No way. And THAT is another hugeproblem I have with the ship.

Because in all the fics I’ve read of them, I never once was convinced ofDeku’s feelings for Todoroki. I can understand Todoroki gaining a passing crushon Deku thanks to their fight in the Sports Festival. But Deku? How does heeven fall for him? Just becauseTodoroki is nice and considerate and listens to him? Like a friend? (Deku has Uraraka and Iida forthat too, what makes Todoroki any more special than them in Deku’s life?) Thisties in to my previously mentioned suspension of disbelief and ooc territorynow. Because Deku is not some haplessdamsel in distress ready to be swept off his feet and easily charmed by somepotential suitor; he’s a BAMF with a heroic spirt that’s even feared byBakugou. And these traits are so rarely utilized to their full potential intd/dk fics - Todoroki’s influence rarely even challenges or inspires Deku toBECOME the best he can be to draw out his latent potential. (Iida’s canonicallydone more in that regard thanTodoroki’s ever done.) Again, it feels too one-sided in Todoroki’s favor toimprove as a better person/hero.

Oh yeah, and since Deku became one of Todoroki’s first ‘true friends,’ forTodoroki to fall for him feels like putting too many eggs in one basket,without giving Todoroki the chance tobranch out and make normal/healthy relationships with OTHERS first beforesettling down. He’s a socially awkward kid emotionally repressed by domesticabuse; for him to latch onto Deku, the ‘first’ person he’s finally (andliterally) warmed up to, feels like the budding symptoms of unhealthy copingmechanisms and compensating for Todoroki’s deeper emotional issues. Where it thenbecomes Deku’s ‘responsibility’ to care for the turnout of his wellbeing, whenNO - Deku’s got plenty of his OWN issues to become burdened with someone else’s on top of those. Plus in canon,Todoroki’s doing just fine and is perfectly capable of handling his personal problems onhis own without having to depend on Deku.

Again, it’s all touchy territory that feels like it sidelines the mainintent of the series itself – by branching off into the deep end of Todoroki’sangst at the expense of Deku’s, or worse: simply wrapping everything up with afluffy bow called ‘the power of love.’ Nuh-uh, not only is that immenselyidealistic and unrealistic, but it’s totally not the kind of content I signedup for when I started the series. I’m frankly not interested in delving into thoseoff-tangent topics in opposition to canon, where Deku’s problems are oftensidelined, his characterization compromised, and my fav character (Kacchan) eitherbecomes an exaggerated, antagonizing impediment to their ship or is simplytreated like he doesn’t even exist. (My patience and willing suspension of disbeliefonly go so far.)

In the end, Todoroki’s a supportingcharacter. In a tertiary tier after the protagonist (Deku) and the deuteragonist(Bakugou). Yet in td/dk fics he’s almost always turned into a main protagonistsomehow. I can understand his appeal and why he’s so popular in the fandom, yes(and I like him too!), but there’s a point where this exposure becomes TOO much,the limit to his available canon issues becomes saturated and repetitive, and itultimately becomes so tiring to keepcoming back and addressing the same topics in fanon when canon has alreadymarched on to focus on more pressing issues. I’m more interested in exploring those other things.

So nowadays, whenever I see td/dk content, I go ‘ayy that’s nice (or cute),’and keep on scrolling. It doesn’t bother me, but it doesn’t interest meanymore either. I probably won’t touch anymore fics of them together either;I’ve seen and had enough. I’m actually more receptive to seeing Todorokiinteract and develop friendships with other characters, like Inasa (the wind guy from the rival school)or even Momo for instance. Either of those ships I see around, I’m cool withtoo.

The final line: I don’t ship them (anymore), because canon swayed me over with the more pressing and compelling developments of bkdk.

NOW, it’s time to talk about kiri/baku:

To start, I actually LOVE Kirishima as a character. And I’ve alreadyestablished upfront that my fav character in the series is Kacchan. So whatgives? It turns out their ship has neverbeen on my radar.

Kirishima is a great character, but I’ve only ever seen him as a supportive bro. To EVERYONE in their class. Whichis precisely how Hori designed him: to be a compassionate/empathetic nice guywho bridges the gaps between the class with his vigorous enthusiasm and support(same role that Denki shares, by the way). And he fulfils this role splendidly.But he ALSO has his own insecurities and developing friendships with manyothers in the class – Denki, Mina, and Deku included. All of those people areimportant to him (and I’m cool with all their ships with him too). Kirishimadoes not solely revolve aroundBakugou.

It’s true that near the beginning of the series, Bakugou was an angry loner,Kirishima trailed after him on his own accord, and after seeing his version of‘manliness’, decided to stick by him and support him, because Kiri saw thepositives of his character that ‘no one’ else bothered to see. (NOT true; Dekuhas always seen and admired Kacchan’spositive traits since they were children.)And so what’s canonically established is a budding friendship where Kirishimafulfils his given role to bridge gaps (whenever Bakugou strays away from theclass), essentially working as a rubber band plot device, and as a secondperspective – aka a fresh lens, for the audience to view Bakugou’s positivequalities.

All of this I’m cool with. I actually enjoyseeing their canon interactions and the kind of fun, slapstick way they bounceoff each other. (I even like the concept of Dragon!Kiri too!) BUT, it’s whenfanon starts twisting their canon relationship into shippy territory, that’swhere things start getting…ugly, at least for me.

Remember, I’ve always only seen Kirishima as a supportive bro, and I MEAN that. They have the samered eyes. The same style of spikey hair. The same pumped up mannerisms whenthey get going. Too many similarities that rub me the wrong way when put in aromantic context. (The only difference is that one of them is the soft-hearted ‘niceguy,’ and the other is the outwardly prickly ‘asshole.’) To me, to ship them feels like the equivalentof taking the parallel ends of two polarized magnets: you can manually forcethem close together, but in the end, they cannot touch because the same ends ofmagnets naturally repel. Now, flip one of those magnets around (aka turn it intoDeku), and boom, the opposite ends attract with explosive force. And THAT ishow bkdk feels to me in comparison.

However, the kr/bk fandom doesn’t stop there. I know there exists plenty of fics about them, but I’ve never read any, and frankly, I never will, not even for curiosity’ssake. Because from the overabundance of otherfandom content, I already know what their ship dynamic is about. And it doesnot appeal to me at all.

Remember how I said Kacchan is my favorite. I do not appreciate when thefandom warps him into either a demonized or castrated caricature of himself –aka when they turn him into someone he most definitely is NOT, all for the sakeof a ship. Or worse: when they use Kiri’s relationship as a means of changingBakugou into a character they findmore appealing. NO. Even more worse: when they treat Kiri’s whole character as awalking plot device for ALL of Bakugou’s positive character development. Fuckno! Kirishima doesn’t deserve this dehumanizing treatment by the fans, andneither does my fav, getting subjected to this…betrayal to his whole character.

What am I talking about? When fans insist that Kiri is the ONLY personBakugou can be ‘nice’ to, outright forsaking or ignoring the canon developmentseither of them have with other characters – what about Denki, the rest of the‘Bakusquad’? Or Deku? Remember my dislike for ignoring the elephant in the room back in my spiel about td/dk?Well here, it’s infinitely times worse.

Because Kiri does not become aconvenient narrative replacement to ‘solve’ all of Bakugou’s problems or themeans to correct his bad behavior. It’s not even Kiri’s business orresponsibility to do so! (Same deal if Uraraka is shipped in Kiri’s place.) Hispresence doesn’t challenge Bakugou’s current conduct or world views to improvehimself as a better person, OR actively affect his drive to become the best hero.At most, Kiri endures the brunt of Bakugou’s outbursts when they happen(because he can harden with his quirk, he can ‘take’ it, and their banterbecomes ‘humorous’ and ‘harmless’…no, it absolutely does not) and amicably slides off any further implications with a ‘heyman, that’s not cool’, or excuses/accepts it with a ‘it’s fine because he’s justbeing himself.’ Now we have a situation where Kiri becomes a passive ‘butt-monkey’to Bakugou’s whims and actually enableshis unacceptable behavior to persist. And Bakugou somehow becomes fully invested in a single confidant who babies andpicks up after him (how the heck? no way would he allow himself to get ropedinto a relationship like that, if any at all. He’s strong and independent enoughto handle himself fine.). Even when it’s portrayed where Kiri is the ‘only’ oneBakugou’s nice to, they’d exist in a vacuum tunnel, sealed off from the influenceof others, and become a spiraling fester-hole of static development. None ofthese prospects are the ‘healthy’ long-term results that fandom seems to claimthey are. Tell me, if Bakugou was reallyan abusive character, would his behavior magically ‘fix’ itself simply thanksto Kiri’s passive influence or ‘the power of his understanding kindness and love’?The answer is a resounding and definite NO. The only person who can canonically stand up to Bakugou’s behavior (andnot brush it off), fundamentally challengehis world views and complexes, match him in equal and opposite intensity with themutual drive to be the best, and receivethe full extent of his turbulent feelings, is Deku.

This is what I’m referring to when I say fandom often ‘ignores the elephantin the room,’ because THIS (Deku and Kacchan’s relationship) is an established,ongoing and important core issue of the series itself, that many shippers wouldrather sideline for the priority, current gratification, and fluffy convenienceof an opposing ship. Aka, simply slap them together with the first nice friend theymeet (in both Todo and Baku’s cases, it’s the ‘too many eggs in one basket’problem again…), who will solve all their problems and work to ‘change’ theminto better people…somehow? No, that’s the case of unrealistic, wishful thinking bad writing andtaking the easy way out when something -the elephant in the room- is too challengingand complex to tackle head on. Thankfully, Hori IS tackling their story head onas purposely intended, so I don’t have to worry about canon jumping the sharkon the progress of their relationship.

So, instead of Kiri being shipped with Bakugou, I much prefer him as a supportingcharacter (a supportive bro!!) who helps ease Bakugou into social/emotionalsituations that he’d normally avoid (which is how Hori originally designedhim??? to bridge those gaps -aka Bakugou’s loner distance - in the class) I’veread plenty of bkdk fics where Kiri becomes the mvp BECAUSE of his natural abilityto do this! With him as a much-needed wingman, voice of empathetic reason, and trustedsecond opinion who Bakugou can confide in to help confront his chronicemotional constipation over Deku. Shipperscan claim that Kiri helps Baku come to terms and become receptive to ‘softer,’ affectionatefeelings when they’re together, when it’s actually the opposite: Kiri becomes astepping stone for Bakugou to learn how to ‘make friends’ with other people whenthey’re apart. ‘Other people’ meaning: Denki, the ‘squad’, Todoroki, the restof the class…and most importantly, Deku.Let my son -Kacchan- learn how to form healthy, genuine relationships withpeople again, so he can gain the necessary experience and maturity to reproach hislifelong treatment of Deku and decide to patch up their relationship on his own terms. This, I feel, is a much more satisfyingoutcome and effective use of Kiri’s character, both in his involvement withBakugou and for the long-run benefit of the series itself.

But instead of seeing it this way, much of the (western) fandom overexaggerates the importance of Kiri and Baku’s relationship, to the point it notonly overshadows the content of other ships, but obfuscates the actual translated GEN contentof canon itself. (WHY!?!) I’m not even going to touch the propensity, hypocrisy, and irony of their shippers to harassand bully others for their opposing shipping preferences (that’s a whole other can of worms). Overall,it’s gotten so bad and obnoxiously rampant that I’ve been forced to block the ship tag for my own sanity and enjoyment of theseries. The ONLY time it’s ever beenrequired for me to use the blacklist function here, and that’s saying something.

Therefore: I support their friendship as supportive bros, but kr/bk as a ship was never on myradar. I’ve never shipped it, and I will notbecome interested in their potential as a pair. I used to be ok with seeing fan content of them around…until thefandom essentially and unfortunately soured it into a notp for me. Welp!

And there we have it, my full opinion on both ships. I hope that satiatesanyone’s curiosity on the matter, as so far I’ve had plenty of personal reasonsto stay in my own lane and only show my avid support for bkdk. This I’ve confidently decided and I will continue todo so, for as long as I’m invested in the series.

For some further reading and similar informed opinions:

http://explodo-smash.tumblr.com/post/165154054112/not-to-pit-ships-against-one-another-but-i

http://explodo-smash.tumblr.com/post/163895267877/why-do-you-ship-bakugou-and-deku-if-its-abusive

http://tinyshinysylveon.tumblr.com/post/168731953134

https://punkbakugo.tumblr.com/post/170514358890/do-you-think-that-the-fandom-over-exaggerates

Also related: my opinions about Kac/chako. And Izu/Ocha.

Edit: now cross-posted on a03

#Anonymous #replies #bnha #bkdk #meta #shipping #rom it’s time to bring out our salt shakers because it’s PARTY TIME 8D #(whoever makes it thru the nearly 4000 words gets a cookie :'D)#honestly i never expected to get an ask about this but time makes it inevitable i suppose :')#therefore i put in both the time and honesty to speak for myself and other bkdk supporters #my opm followers are welcome to check this monster out too #just to see how much salt i’m packing and normally hold back #(this will not become a regular occurrence - unless i'm explicitly asked for more of my opinions on the matter)#anyway for those with similar solidarity: enjoy! :)

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Character Economy in "Juni Taisen" (Part One)

Hey everyone, and welcome to Why It Works! These last few weeks, Juni Taisen has firmly established itself as one of my clear favorites of the season, offering bloody thrills and a cast that's almost too likable for this setup. It feels like the second we’re introduced to an engaging new character, their time in the spotlight is cut short by the brutality of the show’s battle royale premise. With twelve characters and twelve episodes, it can feel like there’s barely enough time to grow to care about these characters before they’re taken away from us – but personally, I actually think that’s one of the show’s greatest strengths. Characters are a resource in any narrative, and Juni Taisen simply makes that fact a little more obvious than most. So today, I’m going to be talking about Juni Taisen’s mastery of character economy, and how each fallen soldier so far has contributed to a greater picture.

Managing the balance of character development and overarching narrative is a tricky feat for any story, but battle royale setups make this balance particularly difficult. On the one hand, most of the characters we meet are going to die, and asking the audience to care about doomed characters can easily feel like an act of clumsy emotional manipulation. On the other hand, the clashes of a battle royale only have meaning outside of their immediate, visceral action appeal if we’re already invested in the actual characters exchanging blows. On top of that, character development must be balanced against the demands of a steadily unfolding overarching narrative because battle royales aren’t generally just a series of tournament fights. Rather, they’re often also a mystery, a character story, and/or perhaps even a thematically motivated message piece.

Juni Taisen works hard to manage these contrasting priorities, carefully choosing its focus characters in order to both facilitate its larger narrative goals and make every death feel meaningful. The show’s choice to begin with Boar’s perspective starts Juni Taisen off in the best possible way. As we learn in her two major flashbacks, Boar has led a life specifically dedicated to mastering the challenges of the Juni Taisen, meaning the story of her character doubles as an explanation of the nature and significance of the show’s overall conceit. To a character like Monkey or Dog, the Juni Taisen isn’t a uniquely significant event in their lives – meanwhile, Boar has literally trained to fight this battle all her life, and the fact that we start off watching from her shoulders means the importance of this battle bleeds over to us as well.

On top of that, Boar is also a great starting character choice because her “arc” is already concluded by the time she arrives at the playing field. As Boar’s flashbacks also tell us, she began her life as a reasonably compassionate, “normal” person, but the story of her journey to the Juni Taisen is the story of her embracing monstrousness and turning the harsh lessons of her father into a truly merciless present-day personality. Boar’s current-day perspective sets the “assumed” tone of the average Juni Taisen competitor, and her confidence in her opinions means she doesn’t give too much away (like when she lightly passes over Chicken as a ‘familiar face,’ foreshadowing but not ruining a future reveal) while still “teaching” us the proper framework for assessing competitors. And then, with her personal journey already concluded and her perspective having fully introduced us to the Juni Taisen, she’s in perfect position to fight, become overconfident, and leave the field.

After that, the show jumps to Dog, who fills out a very different, but still necessary role in the narrative. In a twelve-episode, twelve-character battle royale, it’s pretty much inevitable that some characters will be less significant. Dog is one such character – he has no real arc at all, and instead the “character drama” of his episode is carried mostly by the comic back-and-forth of Chicken’s behavior and his jaded responses. His conversations here both build up Chicken as a character and also let the show flesh out its overall world, with his explanation of other characters’ powers simultaneously building suspense and giving us some context for future fights, letting necessary exposition fit neatly into a natural conversation. Dog’s dramatic sacrifice allows episode two to function as a general “catching up” episode, giving us a much clearer picture of the overall field of battle.

Well, I’m only two episodes in, but somehow we’ve already arrived at the end of this week’s article. There’s plenty more to say though, as Juni Taisen’s choices of focus characters remain just as strong up through the show’s latest episodes. I’ll be back next week with more investigation of the show’s sturdy balance of character and narrative – but for now, just like so many of Juni Taisen’s brave heroes, this post has come to its inevitable end. See you next week, and let me know in the comments what you all are enjoying about this season’s most gleefully gory spectacle!

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Nick Creamer has been writing about cartoons for too many years now, and is always ready to cry about Madoka. You can find more of his work at his blog Wrong Every Time, or follow him on Twitter.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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