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glammiketrash · 9 months

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Monty didn’t attack Bonnie. Freddy did.

This post is not a joke: Ruin gives us enough clues to know that Bonnie was attacked by Freddy the day he disappeared, and Monty saw the attack.

Word count: 2457 words.

Yup, I wrote an entire essay with pictures to take the blame from a fictional gator that became my comfort character. If someone from Steel Wool is reading this: Yes, I’m ok, thanks for asking. If you want to send a cute Monty picture to my inbox, it is open and I’ll be all over the place if you do it.

Now, let me take you with me on this wild ride, because this theory fits the narrative of both Security Breach and Ruin so well that I have to clap at Steel Wool if it is actually correct and not me playing with the puzzle pieces incorrectly. So, here we go!

Bonnie, judging by the golden eyes and his travel pattern, was protecting someone like Freddy did with Gregory. Important damage was directed to the stomach hatch, where a kid could hide.

He has claw marks there, but Monty didn’t got his until the first was decommissioned and was then modified to play his bass.

The scratches in his hatch are green, but also the cracks over it. It looks like it is his base color instead of paint left by the attacker. The next video is from FazFriends, where they look at every single detail in the Ruin animatronic models. Their analysis are totally worth your attention if you like SB!

youtube

Monty has black nails, even before he was modified to play Bonnie’s bass. They also are kinda blunt, and the marks the attacker left seem more clean and sharp in the ends.

Now, there aren’t lots of animatronics that have claws. We have Roxy (and I’m guessing Foxy, if he ever existed as an animatronic different to her), The mimic/Burntrap, who doesn’t really seem an option because he’s slow and in life support in SB and sealed in Ruin, and… there’s Freddy. But, and here’s the twist, not normal Freddy, who couldn’t get through gates like Monty until he got his claws.

I’m talking about this thing.

Not only do we have environmental clues that confirm this attack, but also a key clue that wouldn’t make any sense otherwise.

Let’s start with the Prototype itself!

Check those claws. They are sturdy enough to survive all the damage this model has received, and extremely sharp at the end. Now compare Bonnie and its hand together…

It’s a perfect fit. The metal is a bit bent in the left, but if you could lower it, the finger length, the palm, even the distance and shape between the thumb and index are the same than the hole in Bonnie’s chest.

If that detail is true, all pieces of the narrative fit together. Here’s what happened, which I will explain further adding sources:

Monty saw Freddy’s prototype attacking Bonnie (who was in safe mode) in Gator Golf’s catwalks. The hurricane hole-in-one was activated, causing them both to fall. He could see the prototype losing its head and taking damage to its leg, but Bonnie was nowhere: he was either able to go back to Bonnie Bowl by himself using the distraction or the fall knocked him out and was dragged there, where he was heavily damaged.

This next part is not so clear, so I’ll give you my version of what I think happened that night: Bonnie alerted police that a kid was in danger. They show up, but Vanessa sent them away, claiming she was the only person there and it was a prank call (False Alarm message in SB). Vanny uses Bonnie’s trust on Freddy against him: she sends the prototype to go after the kid and him. He makes it to Monty’s, where the hurricane causes damage to the prototype, and is then finally attacked and disassembled behind his attraction to silence him and bury any clue or what happened (his parts are all over the place, one of his arms has weel marks, and Ruin follows the PQ ending where Freddy is disassembled. In SB, endos come out from the lines to attack us, and in Ruin we see the zone where his vanity is infested with STAFF robots, both in its normal version and in VR, where a giant STAFF robot is seen being dragged to a door while it leaves scratch marks on the floor).

Fazbear Entertainment pretended they actually looked for Bonnie and found nothing at all. As a final punishment for his disobedience he was actively being erased from existence: most of his art was removed, and some ask for a re-theme of his attraction (Re-theme SB message). They make Monty the main bassist, giving him his green room too.

These changes are being quickly pushed after his decommission: Bonnie still has power when we find him, Monty falls from the catwalks “a month ago” and snaps in half, a place where he goes every time he skips a performance (Monty Mischief SB message), people constantly ask for Bonnie and there isn’t an approved answer to give, the bowling alley still wasn’t given a re-theme after taking out most of Bonnie’s images.

Despite FazEnt efforts, Bonnie is remembered, specially by a depressed Monty.

His body was modified, he was given his bass, his glasses, his room, his role. The higher ups clapped thinking about the possibility of him being even more popular than Bonnie, his disappearance becoming yet another opportunity to make money.

And it was Freddy’s prototype’s fault. His normal life, the person he admired the most, his own body, were taken from him because of him.

From that day, and after getting new claws, his attitude becomes obsessive, endlessly searching for what was left of Bonnie after the rest gave up: destroying fences to explore the undergrounds, constantly missing shows and always being found in the catwalks, even after being snapped in half by the hole-in-one bucket, trying to guess where his body was. His last known location was his attraction, so he should still be there somewhere, isn’t it?

Let me repeat this: he prefers looking for Bonnie in the catwalks even at risk of his own integrity than performing.

There are more details that show us he does care for him: there are four official images left of Glamrock Bonnie in the PizzaPlex, three of them in Monty’s ride, the last one at the entrance of his own attraction, where some animations can still be seen. These cutouts are in perfect shape, while Freddy’s is light off.

There is also a headless Freddy statue that once you go to FazerBlast screams “prototype”.

It looks like it’s been decapitated by a hurricane, some “cables” coming out of its head like the prototype, which has cables coming out of its neck.

This damage couldn’t have been caused by the earthquake: the head should had fallen to the ground instead of being pinned on the hurricane. Plus, it doesn’t match the theme of the ride, based on cutouts, and while the rest of the elements are placed in scenarios and their composition is clearly studied, this statue breaks the symmetry of the hurricane’s eye element, that is supposed to give you the illusion that you are entering its eye and being pushed out to the main attraction.

What’s more, in a story exclusively about Monty’s past and how he became a solo bassist in the PizzaPlex thanks to Bonnie, attracting the same amount of people than the Glamrocks themselves, a Freddy statue at the end doesn’t make any sense sense at all… Unless it was put there with a very particular purpose.

I like to think it’s part of an environmental story telling from Steel Wool, specially when you read the rest of clues together.

There’s more to say about this statue than the lack of a head: look at its leg damage, and how it matches the prototype’s heavily damaged one, and how the hand that is visible reflects the light making it look like it has long claws despite Freddy having short ones like the rest of the band.

It also has two blue long lines through his chest that resemble the ones in Bonnie’s.

If you still have doubt about how it is part of a scene representing the night of the attack, then you should know there is an easter egg here: if you follow the part of the tornado that goes up, you can see a Bonnie cutout at the very top of it. He’s far away from the rest of the scene and he looks like if he was being knocked by the tornado. If you zoom to look at his face, you can see he has a worried expression.

Monty didn’t destroy any of the images of Bonnie or his previous iterations, not the cutouts, not this poster, not the bass that belonged to him, even after causing damage to his room.

There is a detail in Gator Golf that is easy to miss: An intact poster of the original Bonnie near a log he uses as a hideout in Ruin (we see him quickly going out of it when we approach it).

He looks similar to the illustration at the entrance of Bonnie Bowl, but this image is not very charming. He looks half dead, yeah...? If you then go to Bonnie’s, some big screens are still on and advertising pizza. When you wear the mask, they change to a glitched version of the Bonnie animation, where his eyes go blank in a similar way to this poster.

This spot couldn’t have been used by Vanny: it is decorated exactly like the rest of Gator Golf in the base game, which ends with us saving Vanessa and exiting the PizzaPlex together.

The poster also has a drawing of Freddy stuck on it. In this chapter you can also find the Bonnie’s piñata collectible, the first time we can see his Glamrock design and the first clue of him having suffered an attack (it has a big gash in his chest).

He could have easily taken it down if he wanted, specially when it is so close to his hideout and he’s in such a volatile state, but he keeps it right beside it.

But the real Freddy (or, at least, things that resemble him) seems to cause some kind of reaction even in the base game, yes?

The most common example in Security Breach is the arcade version of Monty’s Gator Golf. There are two possible readings for it, depending on if you think it represents Monty’s mind or if you think it has been hacked to change his behavior.

Hole 1 depicts Freddy separated from the group, a big distance between them. Hole 9 shows him in a dumpster, and Chica, Roxy and Monty playing together. He’s never part of the group, so either Monty hates him or he was hacked so he would hate him, right?

But the main show were he looks happily at him while playing, the fact that he never attacks him even after being hacked, the presence of images of him on other holes all perfectly light and ok like this balloon, and the eye color difference between Hole 1 and 9, make me think Steel Wool is trying to tell us a way different story.

The Freddy in the dumpster is the only one with golden eyes. Hole 9 represents what is happening the night we play as Gregory, the AR part of the AR-cade, and of the main reasons the Monty taking down theory was so popular.

That night, Roxy, Chica and him are working on finding the kid to the point that their cases crack and get dirty, while Freddy not only glitched at the start of the show hours before, but is now also walking around the PizzaPlex doing NOTHING instead of helping (apparently).

It’s the animatronic equivalent of a group project were one of the members does nothing, so you have to do their part and then they show up and are praised. It makes sense he would be angry at the situation and think he’s trash, but even so, there are no real confrontations between them.

But what about Hole 1, then? The answer is the fireflies. There are some fireflies at the left part, but the right, where Freddy is looking, has other set of lights. If you calculate the distance from Chica to him, the center is almost where the hole is, the part of the arcade that is supposed to drag your attention. Having an empty space there feels uncomfortable and a very questionable decision from whomever designed the scene, but if this one is a reflection from reality or Monty’s current mind state, why aren’t Freddy’s eyes gold?

Well, I don’t think he is separated from his band.

I think someone is missing from the picture instead.

Bonnie was erased from the Arcade.

As it was said, these changes were quick and non-planned: they deleted his model from the arcade, but had no time to move and reprogram the positions of the rest of the characters so the space between them was filled. As a consequence, when you play this level, your attention is taken from the hole to the distance between them.

It is void, awkward, it makes you uncomfortable. You know something is missing, but you can’t quite tell what it is yet. It makes you wish there was one more character there even before you knew there actually was.

Once you learn what happened, how his story ties to the place this scenario represents, the void he left in Freddy and Monty specifically, Hole 1 gains a new meaning, and it hits you. When you go back to the PizzaPlex as Cassie and play the arcade, there’s no joy left there. No fireflies, no Glamrocks, just ruins. Two pairs of red eyes and a pile of Nightmare STAFF bots. That’s all that’s left.

But if you still need one more clue to convince you that the prototype was the one that attacked Bonnie, then let me tell you there is a final one that wouldn’t make sense otherwise:

The AR collectibles dialogue.

Cassie always makes a commentary about the things she finds: Monty’s AR plushie being very glitchy, how she wants to add Roxy’s one to her collection, how the her father wouldn’t tell her why they replaced Bonnie and how he was his dad’s favorite…

But she also asks him what happened to him, and gets an answer when she gets the last collectible.

The AR Golden Bonnie is hidden in Bonnie Bowl, next to a Wet Floor Sign bot.

She hasn’t been to Fazer Blast yet.

But the description answers the question that she asked him: a prototype.

Bonnie was decommissioned by Freddy’s prototype.

And the only ones that know are a kid lead to her death that can hear his agony through the Wet Floor Bots and unreal collectibles, and an animatronic blamed for his death and told he’ll never be him, obsessed with his loss and with finding whatever is left of the person that he admired the most and helped him become the star he once was.

#ruin spoilers #cassie fnaf #fnaf ruin spoilers #fnaf spoilers #montgomery gator #bonnie bunny #glamrock bonnie #ruin dlc spoilers #security breach #Monty didn't decommission Bonnie #fnaf theories #Glamrock Freddy #prototype freddy #ruin prototype #monty gator #the monty is innocent tag

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firelxdykatara · 3 years

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gods, ok, apparently i’m not done.

atla fandom? we need to have a chat.

(....ok that made me sound pretentious as fuck. and maybe i am, but this needs to be said, cause i’m getting....real, real tired of a Certain Corner of this fandom and as a result, this is gonna be a discourse-heavy post so feel free to scroll past if that’s not your bag. as always, my salt posts all carry the catch-all #salt for ts tag, which you’re free to blacklist/filter at your leisure. i’m Very Annoyed at the moment, which will probably come through in the following post, so just. yknow. be prepared for that. or ignore it, that’s perfectly valid too.)

under a cut bc i do care for my followers and their sanity i swear lmao

there’s a real serious issue in this fandom with not understanding what queer terminology actually means or implies, especially when applied to a fictional narrative.

i’m specifically talking about ‘coding’, here. (if i were in a more meme-y mood, i might have said ‘the atla fandom found out about the term “gay-coding” and haven’t shut up since’.)

to the people who say ‘zuko is gay-coded’, i have this to say: you keep using that word. i do not think it means what you think it means. because he isn’t. i’m sorry, but he’s not! and the fact that this is such a prevalent claim in this fandom is distressing, bc it says to me that none of y’all know what gay-coding is or when and how to apply it! please, i’m begging you, go and look up these terms and what they mean and when they should be used before actually trying to plug them into your critical analysis, because when you misuse them and then call other people delusional for disagreeing with you it casts a pall over the entire fandom and is, i think, the root of some of the worst toxicity this fandom has to offer.

and the thing is, there are cases where gay-coding would apply--for instance, a couple series that are famous for queerbaiting their audience by coding their main characters as being attracted to one another (sometimes even despite their openly stated sexualities) come to mind, but those shows bare no similarities at all to atla and how zuko was written and portrayed! (and it would be funny, if it weren’t so obnoxious and infuriatingly wide-spread throughout the fandom, because the only queer couple we actually seen on-screen in either show wasn’t even queer-coded in any respect, and they’re canonically bi! [yes, i’m shading korrasami, or more accurately i’m shading bryke for refusing to give ka the build-up and development they deserved].)

this absolutely isn’t to say that headcanoning zuko as gay is a bad thing or invalid in any respect. (although the tendency for zukka shippers to do this specifically to keep zuko away from katara and/or invalidate his canon relationship/attraction to girls is more than a little eyebrow raising. especially since sokka is usually allowed to be bi, bc fans have no problem letting sukka stay in the background bc it’s no real threat, while jetko shippers are happy to have both boys be bi. [possibly bc katara is less a threat to jetko bc jetkotara is every bit as valid as any single ship between the three, but zukka can’t exactly let katara join in, and if the potential exists for zuko to be attracted to her then canon giving them the far deeper emotional bond becomes a threat to zukka’s existence? idk for sure--you be the judge.]) i prefer to hc zuko as bi (and always have, long before the atla renaissance), bc i don’t think zuko being attracted to boys is outside the realm of possibility, and it isn’t a threat to my ship since zuko&katara had a deep and emotional bond in canon that is very easy to develop further into something that becomes explicitly romantic--but the headcanon itself isn’t really the problem (although what it’s often in service to can be).

it’s the strange insistence that this is the only way to read his character, bc he was coded that way and so anyone who doesn’t see it must be too straight to understand--and i really shouldn’t have to say why and how that is so incredibly fucking insulting. (the ‘hetero lenses’ comment wasn’t cute when it came from bryke six years ago, and the same sentiment being repackaged and delivered by zukka shippers ain’t cute now.)

calling zuko gay-coded not only demonstrates ignorance as to what the term actually means, and how to usefully apply it in critical analysis, but also validates the frankly bullshit insertion of institutionalized homophobia in the world of atla where it was neither needed, nor wanted, nor ever hinted at in canon. as a queer woman i’m still infuriated by one fucking comic panel shoving institutionalized and systemic homophobia into a world where it was entirely unnecessary (and doing this in the first installment of the franchise showcasing a queer relationship??? making korra and asami worried about ‘coming out’ when they could have just gone on to have cute adventures together and tell people ‘hey we’re dating’ and have everyone else be ‘that’s awesome =DDD’ [because it is, in fact, possible to just have a world without homophobia i promise!!!!!] double yikes, i’m still pissed at bryke about it), and i doubly hate that ‘zuko is gay coded’ has become so widespread that ‘ozai hates him bc he’s gay’ has become a staple in that part of the fandom.

not only does making zuko gay and implying (or outright stating) that ozai hated and abused him because of it completely undermine zuko’s character arc by making his abuse about his sexuality rather than ozai’s toxic pride and anger at seeing himself reflected in his ‘weak’ son, but it comes very close to outright stating that abuse and trauma are inherently gay experiences, and they aren’t!!! they really aren’t, i promise!!!

abuse and trauma narratives exist outside of ‘my dad hates me because i’m gay’. and, quite frankly, there are MORE THAN ENOUGH queer trauma narratives out in the world. we do not need to start trying to retroactively make them canon in a series where they didn’t exist! if you’re gay and see yourself in zuko and project your own experiences on him, that’s understandable and valid. that does not make zuko gay-coded. and honestly, the insistence that he is makes very little sense to me, because you’re essentially trying to give the show credit for work you put into interpreting the characters! why would you want to do that? why not own your own headcanons and take credit for them, rather than insisting they are canon and everyone else is wrong for not seeing them??? like, i’ve said before that i’ve always headcanoned zuko (and katara) as bi, and even support it with my interpretations of evidence from the show, but the difference between ‘i think zuko is bi’ and ‘zuko is definitely gay-coded’ is that i know that bi zuko is my interpretation of canon, and that it is work i’m putting into the show that wasn’t actually intended by the creators/writers, no matter how much sexual tension i read into the jetko swordfight.

and like, zuko’s character arc doesn’t actually parallel a queer one all that well to begin with. it’s easy enough to do the work and twist it sideways just enough to make the general points fit, but the fact is, zuko’s arc is not one of self-discovery. it’s not one of coming to understand something fundamental about himself that he can’t change, that he was hated for, and coming out to his father in a dramatic confrontation where he shows that he understands himself and doesn’t need his father’s acceptance to be fulfilled.

zuko’s arc is actually one of trauma and healing. and those can (and often are--like i said, there are more than enough queer trauma narratives in the world, atla really doesn’t need to be one of them) be part of queer narratives, for sure! but they aren’t uniquely queer. and zuko’s confrontation with ozai during the eclipse doesn’t read like a ‘coming out’ at all. (yes, i’ve seen that post. yes, i rolled my eyes and moved on, bc unlike some people, i’m capable of not clowning on correctly tagged posts i disagree with.) zuko is specifically confronting ozai over his abuse, because his arc wasn’t about discovering anything fundamental about himself (and therefore realizing that ozai was hating him for something he couldn’t change)--it was about realizing that he was not at fault for the way his father treated him. it was also about realizing that the fire nation was broken and corrupt at its core, and that his father was an aspect of that he needed to break away from so that he could help the world begin to heal.

he says it himself:

Zuko: No, I've learned everything! And I've had to learn it on my own! Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was. The people of the world are terrified by the Fire Nation. They don't see our greatness. They hate us! And we deserve it! We've created an era of fear in the world. And if we don't want the world to destroy itself, we need to replace it with an era of peace and kindness.

making this about zuko being gay and rejecting ozai’s homophobia, rather than zuko learning fundamental truths about the world and about his home and about how there was something deeply wrong with his nation that needed to be fixed in order for the world to heal (and, no, ‘homophobia’ is not the answer to ‘what is wrong with the fire nation’, i’m still fucking pissed at bryke about that), misses the entire point of his character arc. this is the culmination of zuko realizing that he should never have had to earn his father’s love, because that should have been unconditional from the start. this is zuko realizing that he was not at fault for his father’s abuse--that speaking out of turn in a war meeting in no way justified fighting a duel with a child.

is that first realization (that a parent’s love should be unconditional, and if it isn’t, then that is the parent’s fault and not the child’s) something that queer kids in homophobic households/families can relate to? of course it is. but it’s also something that every other abused kid, straight kids and even queer kids who were abused for other reasons before they even knew they were anything other than cishet, can relate to as well. in that respect, it is not a uniquely queer experience, nor is it a uniquely queer story, and zuko not being attracted to girls (which is what a lot of it seems to boil down to, at the end of the day--cutting down zuko’s potential ships so that only zukka and a few far more niche ships are left standing) is not necessary to his character arc. nor does it particularly make sense.

(and before anyone brings up his date with jin--a) he enjoyed it when she kissed him, and b) he was a traumatized, abused child going out on a first date. of course he was fucking awkward. have you ever met a teenage boy????)

anyway, uh, that was a lot of words, so have a tl;dr: zuko is not gay-coded. there is nothing uniquely gay (or even uniquely queer) about his character arc or characterization, and he was certainly not coded gay in an attempt to sneak a queer character past the censors. if anyone involved with atla was gonna try that, it would’ve been in lok, and as established, they didn’t even manage to queer-code the actual queer relationship before the last few minutes of the final episode. headcanoning zuko as gay is absolutely fine (though if it’s only done to keep him away from female characters he may otherwise be attracted to, that smells more like misogyny than anything else), but insisting that this reading is the only one that makes sense, and anyone who doesn’t agree must be straight (hello, queer woman here making this insanely long thinkpiece) is very much not.

ship what you like, but stop trying to invalidate other ships and other interpretations of characters just to make your ship seem more plausible. it’s really not a good look.

#atla #zuko #zukka salt #more like zukka shipper salt #atla fandom salt #salt for ts #zuko is not gay coded and im so so tired of seeing that argument in this fandom #it's fine as a hc but it's not canon and was never remotely intended and his arc isn't particularly evocative of a gay narrative #long post #queer things

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where-theres-smoak-2 · 3 years

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Hiya 👋 I find it fascinating when people point out stuff about main characters that are brushed over and was I was wondering what’s your top reasons you dislike Alina and what scenes made you dislike her / made no sense.

Well I don't dislike Alina in the show but in the books I do think she is badly written. But here are some things that made the book character less appealing to me than the show.

I think the main one is her complete lack of agency. She very rarely makes any decisions for herself and just seems to go along with what everyone else (mostly male characters) say. There is a problem and instead of Alina being the one to make a decision or think of a solution she is told this is what we are going to do by either, M*l, Nikolai or the apparat. She is pushed around the plot by others actions instead of taking control herself and so often appears more as a puppet than as a commander or influential person in herself. For example in the show Alina is the one who tells M*l that they should seek the stag and kill it for it's amplification powers before the darkling does. Yet in the books this decision isn't hers but M*l's and Alina just goes along with it. There are also several instances where she clearly doesn't agree with the course of action or doesn't want to do something and yet she does it anyway, an example of this is when Nikolai and M*l want to attack the Volcra nest in the fold. She clearly has qualms about it but ends up folding to their will, another example is M*l insisting that once the fold and the darkling are destroyed that they seek a way to remove the amplifier, again this is something Alina doesn't want to do but she agrees with M*l and doesn't tell him her true desire. So what we end up with is a female protagonist who very much seems to be a pawn to the male characters in the book.

Another thing I disliked about the character's storyline is that she was often the victim of men, held captive and used to their advantage and this included one the supposed heroes. The darkling takes her captive twice wanting to use the amplifiers and control her to meet his own goals, Nikolai also at one point takes her captive and only really gives her freedom back to her because she agrees to help him, and the apparat takes her captive so that he can use her to gain religious power over the masses. She also never gets herself out of these situations, she just accepts her situation and waits to be rescued, for others to save her so that they too can use her for their own gain. I find this theme of her either being a victim of men or the pawn of one really worrying.

Another issue with the way she is written which again ties into the two above is that she is made far too dependant on M*l. Not only does she make herself very ill by suppressing her powers to stay with M*l but when her powers are revealed her refusal to let go of her attachment to M*l means that she struggles to master her powers, she becomes physically unable to summon because her refusal to let M*l go. Later in book two and three she spends a lot of time pining after him and getting in arguments about their positions of power. M*l feels useless and resents Alina's new position and power, he wants things to go back to how they were. He really does hold her back in many ways and this really should have been a love that they both grew out of but instead despite it being made obvious that they don't really fit together they both refuse to let the other go which means one or the other has to make sacrifices in order for them to be together. Not only that but Alina often puts M*l's needs, wants and safety above the greater good, rather than save the grisha or other vulnerable people she will safe M*l even going so far as to let 30-40 innocent people die in the fold so that she can save his life. This co-dependant relationship that she has with M*l is very unhealthy and toxic which would be ok if this was recognised within the narrative and then steps were taken to fix it, but instead this relationship is presented as some grand love story despite how damaging it truly is to Alina. In the Tv adaption they show us that Alina can be very happy and actually thrive without M*l in ep 5, its the happiest we ever see her and the most confident, yet she never gets this opportunity in the books.

Alina is also very insecure and jealous and we often see her pitted against other females, in particular Zoya. If there is one thing I really am not a fan of its authors pitting women against women particularly when it is over a man. Throughout all of the books Alina is insecure that Zoya is more beautiful than her and is insecure about her own looks, particularly when is comes to M*l, she is often jealous believing M*l will be turned by other pretty girls instead of him staying loyal to her. She often worries that she won't be good enough as the Sun Summoner and that the people will come to hate her. Again all of this would have been fine if it were limited to just the beginning of her story arc and it was something she overcame, but she never really does. She often comes across as being quite sulky as well. There was this one quote that I kept seeing in the tag that Alina says which is 'I am the Sun Summoner. It gets dark when I say it does.' Obviously before reading the books I kept wondering the circumstances of her saying this. It is a bit of a badass quote so naturally I was imaging all kinds of grand, dramatic scenarios, her shouting it across the battlefield to the darkling, her saying it in a war meeting as they are making plans as a way of instilling hope and confidence in her troops. So you can imagine my disappointment when it is actually said whilst she is lying outside on the ground, sad and feeling sorry for herself. When presented with a problem or a wrench in a plan she doesn't rally her team and try to come up with a solution instead she just sulks which as a reader I found very frustrating. The thing is both Alina and M*l are written as rather realistic teenagers, but the problem is this doesn't fit the world they are living in. They live in a world based off imperial russia and yet the characters do not behave as if they are, instead they act like they are modern day teenagers attending high school with petty jealousy and childhood crushes.

There is also her identity as a grisha and relationship with the grisha. One of the more interesting aspects of the grisha trilogy is the grisha's story, their oppression and their fight to be recognised as human beings and equals. Yet Alina shows very little care for the Grisha. In fact to me it seems like the author just made Alina grisha to serve the plot. Alina is grisha because the narrative needs her to be, they need her to be powerful enough to defeat the villainous darkling and destroy the fold. Instead of striving to improve things for the Grisha Alina supports the monarchy that has spent centuries oppressing them. The moment LB no longer needs Alina to be grisha she is stripped of the identity and the grisha are left in their misery in a world that still hunts, kills and enslaves them.

Alina is also often punished in the narrative by other characters but also by herself. She is often shamed for the attraction she felt towards the darkling and is called things like stupid girl. Not only is she blamed for falling for the darkling's manipulation she is also told she is greedy and power hungry for seeking out the amplifiers and political power. It's a very twisted message that is sent because we are told she is seeking the amplifiers to stop the villain which is a heroic cause and yet we are also told that she is doing out of greed. There seems to be this message that women should not seek power or a change in their position because that means they are greedy and evil.

Then after three books of the protagonist being used as a chess piece by the men in the story she gets one of the worst endings a heroine could. Both Nikolai and M*l get what they want in the end but its at a cost to Alina, Nikolai gets the Ravkan throne and M*l gets the quiet farm life with Alina as his wife. But Alina loses her powers and the position of power she got with them. The two things she explicitly asks for and tells us she desires, her position as general of the second army and her powers/amplifiers. In fact she even tells us in the second book that given a choice she would not give up her powers not even for M*l. Yet that is what happens and worse than that the narrative tells us that she was wrong and greedy for seeking power and influence, they present this ending she gets as a happy one because she gets to spend her life with M*l living a nice normal life. As a reader I found this difficult to except because the character had told us on many occasions that it was not what she wanted, we are shown often how miserable she is without her powers and yet we are expected to believe that this was some wonderful fairytale ending for her when it seems like whilst the men got their happy ever afters it was at the expense of Alina.

There is probably more but before this turns into a full on rant I think it best to leave it here.

#alina starkov #answered #anti leigh bardugo

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clonerightsagenda · 3 years

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Hey hi! I remember you’ve mentioned parent-child themes in Wolf before referencing Eiffel and Hera, can you say more about that? :0

Ok, let's stop talking about necromancy to talk about something even more terrifying... parenthood.

Anyway, yeah! That's the read on their relationship that makes the most sense to me. I'm basing that read on three elements:

Juxtaposition of Anne & Hera

Parallels to Cutter & Pryce

Complementary narratives (idk what to call this bullet point tbh)

Since I know Eiffel/Hera is a popular ship, let me preface this by saying that I'm not saying you shouldn't ship them or that shipping them is incorrect or wrong or whatever. This is a reading, one that I think makes sense and is well-supported by the text, but it's certainly not the only one.

Anyway, lengthy explanation + textual evidence under the cut bc I am putting off having to do this week’s meal planning:

Juxtaposition of Anne and Hera

The narrative draws a connection between Anne and Hera several times. The most obvious is in “Limbo”, where the A plot is Hera struggling with the effects of mental and physical trauma inflicted by Hilbert and Pryce (sort of her evil mom), and the B plot is Eiffel revealing his past where he inflicted mental and physical trauma on his daughter. In case the parallel isn't clear enough, he directly bridges the two plots near the end of the episode.

MINKOWSKI God. I don't know what to say.

EIFFEL Say Hera's gonna be okay.

In "Mayday", Eiffel hallucinates specific crewmates at specific moments. As brain ghost Hilbert notes, "If I am here, it is because some part of you thinks you have to confront [the mathematical reality]." To Eiffel’s subconscious, Hilbert represents cold hard facts in the same way that Minkowski represents crisis response and Lovelace represents a can-do attitude. Near the end of “Mayday”, when he realizes he’s doomed, he says "I guess I'm never going to talk to..." Although he doesn't finish that thought, given the person he tries to leave a message to in the finale, we can guess he's probably thinking about Anne. Who does he hallucinate immediately afterward? Hera.

Finally, in the finale, Minkowski overhears Eiffel making a recording for Anne, where he tells her "Don't let anybody tell you that you can't do something." Later in the same episode, when he's encouraging Hera against Pryce, he tells her, "You can do anything."

An aside: I've heard secondhand that Word of God is that Anne was four when Eiffel last saw her, which would be another point of comparison. However, I can't verify that, and it's not in the text. And no, I'm not saying Hera is the equivalent of a human four-year-old. (Hera's age and whether it even makes sense to assign her a human equivalent is its own post, but mostly I refer to Hera as four in the same way that I refer to myself as a girl - only when it's funny.) I'm an adult, and I still have parents. Our parent/child relationship simply looks different than it did when I was younger.

Parallels with Pryce and Cutter

Based on the way the writers discussed their planning process, most of the characters echo other members of the cast. Eiffel and Cutter - pop culture savvy, communications in their title, the only two to speak 'directly' to Bob - could be seen as one dark reflection, and of course Hera and Pryce reflect each other as well. I've already written about how the numerous Tempest references in the finale suggest a twisted father/daughter relationship for Cutter and Pryce (Prospero my behated), so if they've got an *evil* father/daughter thing going on, then it follows that their non-evil counterparts might have something similar.

Complementary narratives or whatever we’re calling this chunk

Both Eiffel and Hera enter the story with backstories involving parent/child trauma. Eiffel, of course, hurt his daughter when he selfishly and impulsively decided he was entitled to custody, regardless of her comfort or safety. Hera doesn't technically have parents, but her creator and closest equivalent to a ‘mother’ belittles AIs in general, treating them as machines rather than people, and stuck disabling code in Hera's head to keep her compliant.

The two of them are on outwardly friendly terms in season one, but both make comments (Eiffel in "The Sound and the Fury" and Hera in "Am I Alone Now?") suggesting they don’t necessarily respect each other. I imagine a lot of the initial draw was that they like socializing, and neither Hilbert nor season 1 Minkowski are particularly chatty. However, during/after the mutiny, Eiffel gets much more defensive of Hera, and he repeatedly circles back to the attack on her ‘brain’.

I'm not doing it if it means that he gets to stick his fingers in her brain and mess around with her mind again. ("Painfully Ever After")

You know, she's been a little twitchy ever since Hilbert tore her brains out. ("Limbo")

Well, you know how it is when your mechanical brain gets broken and you have to get it replaced with a new one made mostly out of electrical tape and paperclips. Oh, wait, no you don't. ("Happy To Be Of Assistance")

Given what we learn later, I think it's reasonable that he's reacting to the similarities between what happened to her and what happened to Anne. After the mutiny, they grow closer over the rest of the show and start to deal with some of the issues tied to their earlier bad relationships - Eiffel more actively giving a damn about the people around him, Hera bonding with people who treat her as an actual person. Imo, two characters with a past involving opposite ends of a damaged parent/child relationship striking up a *better* parent/child relationship that helps them heal and improve gels better with the narrative and character arcs presented than a budding romance.

Finally, I think this reading adds to the way Eiffel's story ends. In "Limbo" when he's recounting his daughter’s accident to Minkowski, he says bitterly, "I was fine. Of course I was fine. The driver's always fine." In the finale, right before he and Pryce get deleted, he tells her "We're driving off the cliff together". He ended up on the station in the first place because he selfishly hurt his daughter, and he exits the story (as himself, anyway) by choosing to selflessly prevent a daughter figure from being hurt more. (Giving her even more memory-based trauma in the process, but life's a bitch sometimes.) I still dislike endings that erase character development, but looking at it this way made the narrative logic click for me in a way it hadn't before.

In conclusion: Again, I’m not saying people have to read the relationship that way, but I think it fits really well with the text as presented and adds nuance to how the characters’ stories progress and resolve. Sometimes a podcast is also a bad dad competition. This is also more or less what Fullmetal Alchemist is about.

#wolf 359 #interrupting my blog's lengthy run of TLT posting #I’ll note that most of these examples are from his perspective #bc this is a human concept she doesn’t necessarily have context for #but I think it makes sense for a human character and potentially for human readers #I mean listeners

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bestbonnist · 3 years

Text

Chapter 140.1

At the beginning of the chapter, Fushi doesn't want anything to do with Mizuha, saying they don't want to wear the clothes she bought them, which Tonari notices, although she decides to not follow up on it.

Tonari says she thinks of her friends (Fushi included though she doesn't state it directly) as her property, revealing the similarities she's seen between herself and Hayase: who views Fushi as a possession she can own instead of their own person. Their love is fundamentally different, but Tonari does default to dictating right and wrong to the people around her instead of compromising. She relents in this situation because she doesn't want to be like Hayase, and also acknowledges that Fushi's experience isn't necessarily the same as hers (her logic is since they were friends with Kahaku despite him being one of Hayase's successors there's no reason Mizuha should be different) and gives Mizuha the benefit of the doubt.

Tonari using words like "control" and being upfront and apologizing to Fushi, as well as stepping aside to let them be with Mizuha if they so choose, draws a clear line between her actions and Mizuha's selfish ones. Fushi's last words to her before leaving in Chapter 139.2 were "don't control me," so for Tonari to back off reminds them of Mizuha again.

Tonari also accidentally reaffirms that Fushi should be trying to fulfill Mizuha/Kahaku's dream, even though she's only talking about Upa, Mia, and Uroy. Mizuha is a whole other thing. So basically, after Fushi ran out on Mizuha, Tonari finds them and tells them that they were actually right to try and fulfill her dream right when they just decided to stop doing it. Her saying these things is what prompts Fushi to get upset again.

Tonari asks Fushi to tell her what's wrong, because she cares about them, but they cut her off before she can finish, probably since her desire to understand them is reminiscent of their last conversation with Kahaku (which is a connection that they notice) and that didn't really end well. But more importantly because Fushi's also starting to realize that Tonari is in love with them, and they felt she was building up to a confession, so they stopped her with a rejection of her hand (and that connection is one Fushi is doing their level best to ignore). This is hurtful to Tonari, who can feel the divide between them but doesn't know/doesn't want to admit why. There are also some fun panels where the background subtly splits Tonari and Fushi apart:

You can see here, the buildings behind her divide them.

Fushi keeps going to Bon for "orders" the way they only followed what the Beholder told them because it was easier/safer than making complex moral decisions themselves... They did this with Mimori's knocker too, basically told Bon to make the choice instead and let them carry it out. Because the Beholder's left them without any sort of guidance. Anyways this behavior started in the Uralis and Renryrr Arcs, when Bon chose to go through the Beholder and keep important information from Fushi, therefore making the decisions for them. They associate Bon with the Beholder because of this.

Bon also says that there's value in living life for yourself and experiencing all negative emotions for yourself instead of others doing it for you, but Fushi doesn't really register this even though it's exactly what they're doing for Mizuha. From their perspective it's either them or the Left Hand, and since the knockers are bad it's their job to fix it.

Kinda weird how Izumi's knocker led with "we have stew at home." Gugu parallels... Was it eavesdropping somehow? I mean, yes, obviously it knew exactly what was going on when it found Mizuha, but are the knockers also monitoring Fushi like they thought in Chapter 138.2? Food for thought. Haha, pun.

Izumi's knocker mostly just comforts Mizuha and lets her cry on its shoulder. Says all the right things. But there's one line, where it goes "all that matters is that you like this person! That feeling is all you need!" Izumi's knocker is saying it's OK if it's not reciprocated as long as the sentiment is there, and encouraging Mizuha to continue loving Fushi instead of moving on after rejection, which I'm pretty sure means Mizuha's love for Fushi is important to the Left Hand somehow.

So instead of showing up with explosives like would be expected if Fushi plans to destroy Izumi's knocker, they make a sword. Since this accompanies the words "I'll make you drop your human act" I guess they're planning on. Um. Torturing Izumi's knocker until they get it to admit the truth in front of Mizuha. Which is really just to satisfy themselves, both to blow off steam and to prove that knockers are really the bad guys. It will traumatize Mizuha though, especially to learn that the mom she was starting to bond with was a fake after all. And Fushi lied to her about it, plus killed Izumi's knocker themselves.

This is all assuming that they're not planning on going after the Left Hand too, which will be useless because in order to make that death stick they'd have to leave Mizuha dead to prevent it from returning in her body, and even that's iffy since the Left Hand doesn't need to stick to Hayase's descendants. Fushi won't do that though, narratively speaking, because Mizuha's the deuteragonist of this arc and if she's out of commission right now, then the story loses half of its drive. Character-wise there's no way in hell Fushi would kill Mizuha and leave her dead forever, but if it was just until they figured out how to destroy the Left Hand permanently... they might be persuaded. But they would need time to convince themselves.

Final thoughts! Fushi's going to be pushing their morals regardless of the specific outcome, but to make it even worse there's a silhouette that looks like Ricard up in the air when they run into Bon, meaning Tonari's tracking them down to talk, and will see with her own two eyes that the world's not peaceful. And unlike Yuuki, she'll want all their other friends to know. The chapter's called "Acting Human (1)," so if the next one is "Acting Human (2)" then Izumi's knocker probably won't be dropping its act like Fushi hopes.

I forgot to fit this in anywhere but Tonari has also decided that the difference between her and Mizuha is that Mizuha's still a kid so she has time to change, but Tonari's stuck as a twisted adult so the only way she can support Fushi is by being mature and lenient. As the Beholder says, if the vessel changes the soul/faie does as well, so the current Tonari is best described as a combination of her adult and child selves as seen on the chapter's title page. Tonari needs to find that balance.

#fumetsu no anata e #to your eternity #to you the immortal #fnae #fnae spoilers #fnae manga spoilers #fnae anime spoilers #present era #new world arc #tonari dalton #tonari #fushi #immo #mizuha #izumi's knocker #bon #i wasn't really awake when i wrote this and it shows

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rainbuckets8 · 3 years

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Why you should watch RWBY

TL;DR:

Summary: RWBY is an epic fantasy with themes like found family, the struggle to remain hopeful, the younger generation growing up, villain redemption, and systemic evils.

Strengths: RWBY has unique and memorable characters. The show is smart. It has excellent cinematography and animation. It has representation. It tackles hard topics. It’s got incredible music and it’s free on RT’s website.

Weaknesses: RWBY has some early growing pains, specifically volume 2’s finale, as well as budget and polish. Later on, volume 4 is weaker than the rest. Volume 8's finale is extremely distressing for a lot of viewers (and we haven't seen the follow up to those events yet). The fandom can be bad at times.

Misinformation: The early volumes being bad, the racism plot line, and the animation (not the same as “budget and polish”) are not as bad as you may have heard from YouTube.

Suggested viewing order

Red Trailer, White Trailer, Black Trailer, Yellow Trailer

Volume 1

Volume 2

Volume 3

Volume 4 Character Short

Volume 4

Volume 5 Weiss Character Short, Volume 5 Blake Character Short, Volume 5 Yang Character Short

Volume 5

Volume 6 Adam Character Short

Volume 6

Volume 7

Volume 8

(I did my best to make this spoiler-free. When there are spoilers, they’re worded ambiguously enough that someone new to the show would never guess what’s going to happen just by reading this.)

What to expect

The world of Remnant is filled with monsters called the creatures of Grimm. Warriors called Huntsmen and Huntresses defend humanity. Ruby, Weiss, Blake, and Yang go to school to become the next generation of heroes. Together they make Team RWBY (pronounced, “Ruby”)! Joining them is team JNPR (“Juniper”), made up of Jaune, Nora, Pyrrha, and Ren. But evils even more dangerous than the Grimm are ready to make their move, and school quickly becomes an afterthought…

(I mention these next two topics specifically bc they can immediately turn someone away based on bad expectations.) There is a fantasy school setting, but RWBY is not a show about school. School topics are not a dominant idea: it seems to resemble a setting like Harry Potter, but the actual focus of the show rarely touches on things like classes or homework or tests, and we quickly move on. There is romance and it has a role in the plot, but RWBY is not a romance show. On the scale of romance in FMAB to She-Ra, RWBY falls somewhere in the middle.

What is RWBY about, then? RWBY is like an epic fantasy or high fantasy, despite first appearances. Perhaps not every genre convention is followed, but at its core, RWBY is about an epic struggle of good and evil.

RWBY contains themes such as found family, the struggle to remain hopeful, the younger generation growing up, villain redemption, and systemic evils.

Strengths of the show

The characters are unique and memorable. One of the cool things is that they all draw inspiration from a real life fairy tale, myth, or something else. They designs are all top notch. One character who died with extremely little screen time even got so much fandom love, they included the character in a mid-hiatus short later. The characters have unique weapons, too; in the world of Remnant, a weapon is an extension of ones’ soul, and they reflect the variety of their owners. They’re also just plain cool; Monty was famous for following the “Rule of Cool.” And their individual stories are all compelling and interesting.

The show is smart. As a fandom, we generally pick up on the narrative hints the creators are dropping. And our predictions usually come true, but not in a way that makes the show predictable and boring. We very rarely guess exactly what will happen, but we have some similar idea of it. It’s just excellent foreshadowing.

RWBY also likes to play with tropes, as an extension of this. Often it will challenge them, or subvert expectations. In other cases, RWBY uses tropes to avoid showing us what we already know will happen. This occurs in both characters and plot. For example…

SLIGHT SPOILERS FOR VOLUME ONE FOR THE REST OF THIS PARAGRAPH: Jaune’s entire character arc is about trying to be the anime protagonist, and learning that he doesn’t have to do things alone, and it’s ok to be a support main. The show sets up the narrative in a way that looks like, oh of course the direction it will go is him becoming the main character, but then it destroys toxic masculinity instead.

Our characters are smart, too. Plot-induced stupidity generally doesn’t happen. (A few big mistakes or errors in this regard aren’t actually the fault of the narrative, either, but animation and miscommunication and failure to execute. And those aren’t common.) It goes beyond just “not being dumb,” however. The villains’ plans are incredibly clever, and our heroes sometimes even guess at the usual “plot twists.”

The cinematography is just incredible. There are numerous freeze frames with extreme attention to detail that reveal character motivations or arcs or foreshadowing, there are many effective cuts and moving parts, there are soooo many parallels and callbacks, and visual cues such as lighting and color all are used appropriately to convey emotion and assist the narrative. It is one of the biggest overlooked strengths of the show, imo, simply because a lot of people in the fandom don’t notice these things as much for whatever reason, or else don’t give as much praise about them.

The animation is extremely good as well. Budget issues and technology issues aside (which means a lack of polish), the actual animation? The fight choreography, and all the other parts of animation that aren’t just “expensive CGI” are all wonderful. You can have very shiny, polished turds after all, and RWBY is like the opposite: not very polished, especially early on, but very well animated. All the trailers, volume 1 episode 8, the volume 1 finale, the volume 2 penultimate episode, and basically everything else hold up extremely well even today. If anything, the worst fight animation was in volumes 4 and 5 because of Maya growing pains, and those are an example of being more polished, but not necessarily better animated. Animation of faces has always been good, animation of characters has always felt lively. Aside from a few small actual hiccups (that one person running across rooftops for instance), it’s well done.

There are LGBTQ+ characters. The treatment of one of the recent trans characters, in volume 8, was nothing short of amazing. They worked with a VA who was trans. The moment of canon confirmation was important to the character for backstory, because of course that affects the character’s life, but not the only important thing about the character. The representation is not in-your-face or pandering. And there is a split of representation among the main cast and the minor characters, with promises of more to come (notably they’ve said they’re working on more mlm for future volumes, too).

RWBY is not afraid to tackle hard topics. It deals with things like mental illness, systematic racism, and cycles of abuse. It’s not because the show is trying to earn “gritty and dark” points, it’s because those are some of the topics that real people have to struggle with as well. And the show handles most or all of them very well, in a way that shows respect and an honest attempt to depict these things as best they can. (NOTE ABOUT VOLUME 8: THERE IS A VERY DIFFUCLT CONVERSATION CURRENTLY HAPPENING. I am on the side of, let’s wait and see what happens next because the story isn’t over, so we haven’t really seen the fall out. But I understand why this paragraph feels really difficult to agree with if you've seen the volume 8 finale. I trust the track record of the rest of the show, personally.)

As an example, the show has a theme that villains are rarely evil just because. A lot of villains choose to do bad things because they were hurt in some way. Some lived in poverty; some were hurt by racism; many of them are victims of abuse. But the show doesn’t make excuses for them. It’s possible to be both sympathetic and still choose evil over and over again (that’s called tragic). The ones who eventually do try to do good again are not always forgiven, either.

The music is amazing. I can probably count on my hands the number of times I’ve heard someone say otherwise, which is astonishing when you consider this fandom.

It’s also free on RT’s website. (A paid, “FIRST” subscription removes ads and lets you see new episodes one week early, but they all eventually release for free.)

Weaknesses of the show

Early volumes’ growing pains exist, much like most or all other shows. (Even some of the greatest were not immune to this, like ATLA.) In this case, however, it’s a little bit rougher. A large reason why is that this was kind of the first big thing from RT to ever come out. If you remember back almost a decade ago, their only other big thing at the time was RvB, which was machinima. They pretty much started from scratch with everything, from assets to VAs to animation to writing. Imagine if a random twitch streamer, like Ninja (idk who’s popular these days) said one day, “OK let me just direct something that’s intended to be the next great movie series of all time, like Star Wars, with a $4 bill and an iPhone camera.” Then went out and actually made something. Of course it would be rough…but then it turns out the movie is actually really good. And then you get to watch over the next several years as everything gets better and better until it’s honest-to-god comparable to the MCU. That’s kind of what happened with RWBY.

One specific growing pain was the volume 2 finale. Pretty much everything else up until that point, I love about the show. But the finale just fails to deliver on the build up of tension from other episodes. Some of it is because of later plot developments that we didn’t know at the time; some of it is because of just not great writing; some of it is because of just not great animation; and yes, some of it is budget. Regardless, it’s a low point for the show.

Speaking of, the budget for the early volumes is super small. The infamous volume one shadow people, the infamous person jumping across the rooftops in volume two, and just production quality isn’t high compared to a major release from some established studio. These are real weaknesses of the show that for some people, make it unwatchable, and if that’s you, that’s ok.

One last weakness of the show, the screen time per episode, especially early on, is NOT a full 20 minutes like you may expect of an anime (or anime-inspired-western-media, for those of you who will die on the “RWBY is not an anime” hill). This is a trend that has stuck with the show, a shorter run time per episode, for generally the entire lifetime. On one hand, it means it’s a little less daunting to catch up or rewatch than the number of episodes might imply. On the other, early on, some episodes have a little weird pacing. It also means the writing had to adjust for this, so while RWBY got really good at telling a story within a shorter amount of time, there’s also challenges with that too. Perhaps one of the notable ones is the pacing, with slower moments sometimes feeling like it takes up too much screen time, or not enough. Volume 4 was a particular struggle for the crew, both because they switched animation engines and also for the story.

Common complaints that I don’t agree with

I don’t agree that the early volumes were actually bad overall. Growing pains, yes, but not bad. I attribute that complaint to overly focusing on one character’s storyline, back when it wasn’t clear there was so much more to come and before people realized the show would challenge the tropes instead of falling into them. It’s pretty much just volume 1 when people say this anyway, most of them I’ve heard admit that volume 2 was a lot better (except the finale) and almost everyone loves volume 3. And looking back on it, I do think volume 1 holds up.

Tying into this, the racism plot line is another common complaint. I don’t think it’s actually executed quite that badly. I think it makes sense for there to be regional differences in the amount of racism we see, it just so happened that we only saw a very small and isolated environment, Beacon, for much of the early volumes. (Incidentally, that’s actually similar the environment I myself grew up in.) It’s not perfect, though. But there’s no doubt that the later volumes do a better job portraying this. Again, I attribute it mostly to people not knowing how long the show would run for at the time, so of course if that’s all we saw, it would’ve been bad. But it’s not. I have a lot of respect for Miles and Kerry for even attempting to handle the racism topic in the first place. And for the faults that DO exist in this plot line, I credit them for learning and growing past that too, and doing better in later volumes.

The animation is not bad. I’ve already touched on that earlier, but people confuse “budget and polish” with “animation.” Give me RWBY any day over Michael Bay’s Transformers: no matter how much polish those robots have, they’re still a confusing mess to try and follow. And the polish isn’t even an issue once we get past the growing pains of Maya and get a bigger budget, because wow does this show look good now.

Between these three complaints I hear about often, I think those are the biggest ones. And they’re all generally done in bad faith, based not on just those but on other more provocative statements people also make with them. That’s part of my issue with the fandom, specifically the vocal but small parts of the fandom, because they’re just repeating these things from early days that aren’t true. But YouTubers gotta get those rage and hate clicks somehow, right? Unfortunately it discredits the show a lot and influences other people’s opinions into not giving it a fair chance, because it’s become a narrative of “RWBY IS BAD” when they all won’t shut up about it. So yeah, fandom can be bad, join at your own discretion. (Of course, all fandoms have annoying parts, and my interactions with the fandom have been good overall, otherwise.)

Onto other complaints, some say the cast is bloated. I don’t agree, but I don’t think this one is in bad faith. I think we get the important characters as much screen time as we can, and the minor characters don’t actually detract from that; one of the differences between good minor characters and bad ones, is that bad ones take up too much time. RWBY has a ton of characters but many of the minor ones don’t actually take up too much time. So it appears bloated, but actually I don’t think it is.

Finally, a small word on the no-no topics. Adam, and Monty. Adam is like the champion of the Monty topic. Which essentially boils down to “Miles and Kerry are ruining Monty’s vision for the show.” Toxic fandom is truly awful and I have no respect for anyone who says anything like that. Shame on all of you. This isn’t really anything negative about the show, but the fandom, and tbf all fandoms have toxic parts. But toxic fandom can be a real and valid reason to not watch a show. Thankfully they seem fewer in number these days, but I think they’ve evolved into hiding behind other characters or topics, so you know. Beware. Again, it's not too hard to avoid them or block them, and my interactions otherwise with most fans have been good.

#rwby

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catcze · 3 years

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ooo more lore !! i don't usually use the wiki, i just look through items myself & i don't have those so i wasn't aware :0 wait watch me go on a wiki dive all night now adkhskdhfk. i do have a bit of a theory tho!

2.1 archon quest spoilers //

ok i'm probably gonna look like a clown when i'm proven wrong, but part of me kinda doubts signora's actually dead?? like, she seemed like a pretty major character, and it was so sudden. i know keeping her alive would undercut ei's power, but to be fair she hasn't had the gnosis for awhile, so the musou no hitotachi might not be as strong as it was when she slew orobashi, for example.

at the end, signora didn't use her vision(?) or delusion, opting to reach for ei's gnosis (that's what it looked like to me idk). which makes me think - if she wasn't using her pyro, why did she disintegrate to embers & ash instead of something more indicative of the lightning that killed her? i suppose it could just be a visual reference to how her body is made of liquid flame, but mayyyybe she did activate her pyro abilities at the last second to escape, and that's why her 'death' looked the way it did.

during the battle she seemed to be able to move pretty quickly in a pyro form of sorts, so what if she kinda.. dissolved into embers and disappeared of her own will? maybe she timed it right, or maybe she was hit by the musou no hitotachi - she is based on moths i think which have a sort of cycle of rebirth, and she did enter an ice chrysalis(?) mid-fight. so what if she's recuperating elsewhere in stasis like that, only to be 'reborn' later on in the game? many thoughts rn,,

idk, i'm sure i'm missing some points here, and i'm not rly convinced one way or another myself - i just think it would be cool if we saw more of her somehow hehe. as much as i love the whole 'mc befriends former bad guys they defeat' trope, it was refreshing to see a villain like her imo!

and yess, i've loved watching traveler grow more impatient & testy as the story progresses. altho the scene after signora's fight was.. a bit anticlimactic with my seelie dancing behind me lmao?? everything was dark & glitchy, traveler's silent, paimon's recounting the gruesome tale, and there's mr. bubblegum- "ubwbelbebrbeweb <3" doing flips in the background kdhfkhfsdkf - 🐺

GENSHIN SPOILERS

I mean, it's a possibility ! After all, genshin is supposed to go on for 7+ (10?) years, so any sorts of twists and turns are definitely probably down the line. There were also some leaks a few months ago that,,, kind of ? support this theory, if you squint.

But! Regarding what you said about her reaching for the gnosis, I'm afraid that's not quite possible, since it later gets revealed that it was with Yae, and then later traded to Scaramouche.

But yes!! I deffo do think it's plausible (maybe even possible, if more evidence surfaces over time and with more lore reveals) that she could have dodged a hit. It would be interesting to have that kind of twist to the story, but I do kind of agree that it,,, does put a damper on the Shogun's strong image ? Idk and I feel like some people might consider it a 'cheap' twist, espescially considering the heaviness that befell the traveller (maybe guilt ?? idk, that's how i personally interpret it) during that sort of slow, dark walk out of Tenshukaku. Not to mention how I think that seeing Signora die directly or indirectly because of the traveller's actions is something that I'm interested to see in the future, regarding on how this knowledge might change the travellers attitude towards others, if it'll push them to be more ruthless, or if it would make them a bit more hesitant to fight after they've seen a strong foe like Signora die because of losing the duel to them.

And in a way,,, i don't know, and this is kind of opinionated, but I feel like killing Signora then reviving her would,,, be somewhat unsatisfying ? Because,,, it kinda feels like Genshin is going down a slightly different path now. It's grown a bit heavier and darker with the occurrence of its first on-screen death (and major off-screen death w/ Teppei) and i feel like turning around in the future and saying 'oh! actually this character isn't dead' feels too much like a 'take-back' or like they're backing out of that darker theme, which feels a bit unsatisfactory given that he archon quest has begun to push that sort of narrative, and it's an interesting route to go, considering we've seen the heaviness that meeting their sibling that has (presumably) pushed the sibling into being more direct in wanting to complete their mission (in how, at first, they just wanted to see the shogun, and not get wrapped up in the whole resistance thing) and how angry they got when Teppei died. Personally, 'taking back' something as big as the first character who the traveller is indirectly/directly responsible for killing feels,,, very much like they're just pandering to younger audiences, and i feel like it would be a cheap twist or a disservice to the heaviness that befell the traveller after the fight itself.

but idk thats just my opinion lmao,, wanting her to revive is valid too!! And i deffo agree that is was sooo refreshing to see a villain that was,,, wel, a villain. One without any highlighted redeeming qualities. One that's just bad. It was nice hahha

ALSO PLS THE SEELIE ASKJDN I love the name you've given him HAHAHA <33 also !! hope u enjoyed the lore dive, if you've done it. I mostly stick to the wiki instead of the game, since like you can open links in the paragraph instead of having to rifle through all the stuff in the game HAHHA

#Cw Genshin Spoilers #🐺 anon #Kisses from Catte 🦩#pls I kinda got carried away HAHAH but idk the traveller's personality changes + how all the recent archon quests seem to be #taking their toll is /really/ interesting to me akjsndaks

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icouldntthinkofabetternamesook · 4 years

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Lets Get Dangerous review

spoilers

St Canard looks cool

are the Ramrod accidents ever explained? Are the costly set backs, the disappearance of Dr Waddlemeyer? who else has been hurt?

on a rewatch, I think Bradford might be intentionally trying to keep Scrooge away from Bulba because he’s a F.O.W.L asset and he doesn’t want Scrooge to get wise

LP and Dewy are so bad at keeping secret identities

there’s my gremlin boy!! Drake tried to be cool and completely flopped. nice set up on the later swoop

Bulba is laying it on thick. man he is smarmy

oh god I love the hideouts up. it’s sleek and homey and high-tech while having those deconstructed cardboard boxes to look a bit rough in progress. It’s batman inspired but still unique. also Drake has a big record collection. also those windows look amazing

I personally head cannon that the fearsome four of the in universe show where all people who authentically had those powers and either where doing community service instead of jail time or decided to do acting instead of crime. explains how they used their abilities on screen while still being low budget with few special affects, and ties into how it keeps being stated that St Canard used to have actual super villains

Huey noticed the key immediately

drake gives me second hand embarrassment

there’s the baby Gos-those are some sharp arrows

oh Dewy has his phone in his mouth. also his legs are just wrapped around LP’s arm. that is some strong core muscles

I theorized after the reunion clip came out that Drake would try to do the intro twice and get interrupted before finishing, until the third time where he would give the whole speech we heard over the teaser. I was right

Bulba is awfully ready to shove Darkwing into the spotlight. Maybe trying to get up ahead incase those accident investigations get to noisy? As well as control the narrative over Goslyn? Owlson is also very eager to reward him. maybe she’s a closet DW fan.

THE COOKBOOK!!!

KEEN GEAR SHE SAID THE THING HELLS YEAH!!!

Drake is justified in asking for evidence. also where has Got been living since her grandfather disappeared? bets on foster home or homeless

Gos and Dewy have a cute dynamic

All four of them in the motorcycle is cute. LP has is hands around Drake’s waist Dewy and Got in the side car, Drake and Got sharing that little look. so cute!

Drake and slapstick

Gos climbing over everything

Accordion Drake and his yep, yep, yep, but also accordion Darkwing, he is really in the realm of toon physics

so....did the ramrod really accidentally backfire or did Bulba, maybe...push him?just saying it might not have been an accident. also he could be telling this story as a cover for straight murder, he is a bit homicidal and a very skilled liar

“Hold it right there young lady” is a strong display of parental behavior

Drake using detective skills to sus out Bulba wth zero hesitation

she lost her crossbow!

a wonderful use of misdirection, the right way to use a smock bomb

zero hesitation to just jump

Drake only being able to swoop with Gos’ help is great illustration of them being better together

Drake and LP playful banter

and enter the fearsome four

ok Drake has called Fenton to ask for help with the portal at some point off screen. I think there was a semi major time gap between the fight with Bulba and the news cast

Liqidator is right in his element with Bulbas weird sudo work place stratagem. he’s Vice President!

jamming out to the theme song

Launchpad picks up the child

Dear lord Bushroot is creepy and cool. he’s just sitting there in some random beam of light. also he screech

Drake has a Darkwing Duck arcade machine

ok it’s this hasn’t slept in days thing that keeps tripping me up about the timeline. all of this could very well be happening in one very busy night except for that one line. also how can be staying up all night with Fenton when we’ve been seeing him at night with LP and Gos? this bugs me. I added an extra day between there the episode would split as a two parter to justify his extreme tiredness but what LP is saying makes no sense

Darkwing face pancakes thats a great detail

while no Negaduck in this episode(which makes sense he totally needs his own debut to deal with the ramifications of Jim Starling and stealing the show in general) Bulba manages to step in nicely as the scary, team leader from another universe. a twist on the classic while still paying homage

Goslyns emphasis on this being reality is...kinda grating actually. she’s not a dw fan so she’s not comparing it to the in universe show. also we as the audience are watching it be a show. theres no in universe reason for her instance that its real and its annoying out of universe. maybe its supposed to mesh with the ramrods use of fictional realities, and Bulbas later assertion about making their own reality, but as is it’s kinda flimsy

Reggie snake tail thing is really cool. Honestly he was given such an intense and cool redesign it makes no sense for that amount of effort to have only gone into one episode. I really hope Reggie left like a clone making seed pod thing so we can get more of him without having to dimension hop again

oh hey she got the crossbow back

why did Bulba even turn on the ramrod when he did?

you know that BTAS post going around Tumblr about how making it so you can never show death, forced them to come up with things worse then death? that’s what happened with waddlemyer. They couldn’t show us him dieting or dead so they had to find a way to make it even more gut wrenchingly painful while technically not killing anyone. ouch

annoyed we don’t get the adoption, or at least something more familial then explicitly making it about crime fighting

appreciate Dewy giving LP permission to go to his family. that transition is going to be rough so I appreciate the indication that Dewy will be supportive

and they ride off into the night together!

God this episode is fun! I have some nitpicks mostly about Gos and the timeline, but those pale in comparison to just how enjoyable and emotional it is to watch.

#ducktales #darkwing duck #dwd

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anhed-nia · 4 years

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BLOGTOBER 10/7/2020

I missed THE GOLDEN GLOVE at Fantastic Fest last year. It was one of my only regrets of the whole experience, but it was basically mandatory since the available screenings were opposite the much-hyped PARASITE. As annoying as that sounds, it was actually a major compliment, since what could possibly serve as a consolation prize for the most hotly anticipated movie of the year? Needless to say, I heard great things, but I could never have imagined what it was actually like. I'm still wrapping my mind around it.

Between 1970 and 1975, an exceptionally depraved serial killer named Fritz Honka murdered at least four prostitutes in Hamburg's red light district. Today, we tend to think of the archetypal serial killer in terms of ironic contradictions: The public is attracted by Ted Bundy's dashing looks and suave manner, and John Wayne Gayce's dual careers as politician and party clown. Lacking anything so remarkable, we associate psychopathy with Norman Bates' boy-next-door charm, and repeat "It's always the quiet ones" with a smirk whenever a new Jeffrey Dahmer or Dennis Nilsen is exposed to the public. The popular conception of a bloodthirsty maniac is not the fairytale monster of yore, but a wolf in sheep's clothing, whose hygienic appearance and lifestyle belie his twisted desires. In our post-everything world, the ironic surprise has become the rule. In this light, THE GOLDEN GLOVE represents a refreshing return to naked truth.

To say that writer-director Fatih Akin's version of the Fritz Honka story is shocking, repulsive, and utterly degenerated would be a gross understatement. We first meet the killer frantically trying to dispose of a corpse in his filthy flat, wallpapered with porno pinups, strewn with broken toys, and virtually projecting smell lines off of the screen. One's sense of embodiment is oppressive, even claustrophobic, as the petite Honka tries and fails to collapse the full dead weight of a human corpse into a garbage bag, before giving up and dismembering it, with nearly equal difficulty. The scene is appalling, utterly debased, and yet nothing is as shocking as the killer's visage. When he finally turns to look into the camera, it's hard to believe he's even human: the rolling glass eye, the smashed and inflated nose, the tombstone teeth and cratered skin, are almost too extreme to bear. Actually, suffering from a touch of facial blindness, I had to stare intently at Honka's face for nearly half the movie before I could fully convince myself that I was, in fact, looking at an elaborate prosthetic operation used to transform 23 year old boy band candidate Jonas Dassler into the disfigured 35 year old serial murderer.

Though West Germany remained on a steady economic upturn beginning in the 1950s and throughout the 1970s, you wouldn't know it from THE GOLDEN GLOVE. If Honka's outsides match his insides, they are further matched by his stomping grounds in the Reeperbahn, a dirty, violent, booze-soaked repository for the dregs of humanity. Though its denizens may come from different walks of life, one thing is certain: Whoever winds up there, belongs there. Honka was the child of a communist and grew up in a concentration camp, yet he swills vodka side by side with an ex-SS officer, among other societal rejects, in a crumbling dive called The Golden Glove. The scene is an excellent source of hopeless prostitutes at the end of their career, who are Honka's prime victims, as he is too frightful-looking to ensnare an attractive young girl. These pitiful women all display a peculiarly hypnotic willingness to go along with Honka, no matter how sadistic he becomes; this seems to have less to do with money, which rarely comes up, and more to do with their shared awareness that for them, and for Honka too, it's been all over, for a long time.

Not to reduce someone’s performance to their physical appearance, but ???

To call Dassler's portrayal of Honka "sympathetic" would be a bridge too far, but it is undeniably compelling. He supports the startling impact of his facial prostheses with a performance of rare intensity, a full-body transformation into a person in so much pain that a normal life will never become an option. His physical vocabulary reminded me of the stage version of The Elephant Man, in which the lead actor wears no makeup, but conveys John Merrick's deformities using his body alone. Although there is an abundance of makeup in THE GOLDEN GLOVE, Dassler's silhouette and agonized movements would be recognizable from a mile away. In spite of his near-constant screaming rage, the actor manages to craft a rich and convincing persona. During a chapter in which Honka experiments with sobriety, we find a stunning image of him hunched in the corner of his ordinarily chaotic flat, now deathly still, his eyes gazing at nothing as cigarette smoke seeps from his pores, having no idea what to do with himself when he isn't in a rolling alcoholic rampage. The moment is brief but haunting in its contrast to the rest of the film, having everything to do with Dassler's quietly vibrating anxiety.

Performances are roundly excellent here, not that least of which are from Honka's victims. The cast of middle-aged actresses looking their most disastrous is hugely responsible for the film's impact. These are the kinds of performances people call "brave", which is a euphemism for making audiences uncomfortable with an uncompromising presentation of one's own self, unvarnished by any masturbatory solicitation. Among these women is Margarete Tiesel, herself no stranger to difficult cinema: She was the star of 2012's PARADISE: LOVE, a harrowing drama about a woman who copes with her midlife crisis by pursuing sex tourism in Kenya. Her brilliant, instinctive performance as one of Honka's only survivors--though she nearly meets a fate worse than death--makes her the leading lady of a movie that was never meant to have one.

So, what does all this unpleasantness add up to, you might be asking? It's hard to say. THE GOLDEN GLOVE is a film of enormous power, but it can be difficult to explain what the point of it is, in a world where most people feel that the purpose of art is to produce some form of pleasure. This is the challenge faced by difficult movies throughout history, like THE GOLDEN GLOVE's obvious ancestors, HENRY: PORTRAIT OF A SERIAL KILLER, MANIAC and THE TEXAS CHAIN SAW MASSACRE. Describing unremitting cruelty with relentless realism is not considered a worthy endeavor by many, even if there is real artistry in your execution; some people will even mistake you for advocating and enjoying violence and despair, as we live in a world where huge amount of movie and TV production is devoted to aspirational subjects. (The fact that people won't turn away from the Marvel Cinematic Universe movies, no matter how monotonous and condescending they become, should tell you something) How do you justify to such people, that you want to make or see work that portrays ugliness and evil with as much commitment as other movies seek to portray love, beauty, and family values? Why isn't it enough to say that these things exist, and their existence alone makes them worth contemplation?

A rare, perhaps exclusive “beautiful image” in THE GOLDEN GLOVE, from Fritz Honka’s absurd fantasies.

You may detect that I have attempted to have this frustrating conversation with many people, strangers, enemies, and friends I love and respect. I find that for some, it is simply too hard to divorce themselves from the pleasure principle. I don't say this to demean them; some hold the philosophy that art be reserved for beauty, and others have a more literary feeling that it's ok to show characters in grim circumstances, as long as the ultimate goal is to uplift the human spirit. Even I draw the line somewhere; I appreciate the punk rebellion of Troma movies as a cultural force, but I do not enjoy watching them, because I dislike what I perceive as contempt for the audience and the aestheticization of laziness--making something shitty more or less on purpose. A step or three up from that, you land in Todd Solondz territory, where you find materially gorgeous movies whose explicit statement is that our collective reverence for a quality called "humanity" is based on nothing. I like some of those movies, and sometimes I even like them when I don't like them, because I'm entranced by Solondz's technical proficiency...and maybe, deep down, I'm not completely convinced about "humanity", either. However, I don't fight very hard in arguments about him; I understand the objections. Still, I've been surprised by peers who I think of as bright and tasteful, who absolutely hated movies I thought were unassailable, like OLDBOY and WE NEED TO TALK ABOUT KEVIN. In both cases, the ultimate objection was that they accuse humans of being pretentious and self-deceptive, aspiring to heroism or bemoaning their victimhood while wallowing in their own cowardice and perversity. Ok, I get it...but, not really. Why isn't it ever wholly acceptable to discuss, honestly, what we do not like about ourselves?

The beguiling thing about THE GOLDEN GLOVE is that, although it is instantly horrifying, is it also an impeccable production. The director can't help showing you crime scene photos during the ending credits, and I can't really blame him, when his crew worked so hard to bring us a vision of Fritz Honka's world that approaches virtual reality. But it isn't just slavishly realistic; it is vivid, immersive, an experience of total sensory overload. Not a square inch of this movie has been left to chance, and the product of all this graceful control is totally spellbinding. I started to think to myself that, when you've achieved this level of artifice, what really differentiates a movie like THE GOLDEN GLOVE from something like THE RED SHOES? I mean, aside from their obvious narrative differences. Both films plunge the viewer into a world that is complete beyond imagination, crafted with a rigor and sincerity that is rarely paralleled. And, I will dare to say, both films penetrate to the depths of the human soul. What Fatih Akin finds there is not the same as what Powell and Pressburger found, of course, but I don't think that makes it any less real. Akin's film is adapted from a novel by Heinz Strunk, and apparently, some critics have accused Akin of leaving behind the depth and nuance of the book, to focus instead on all that is gruesome about it. This may be true, on some level; I wouldn't know. For now, I can only insist that on watching THE GOLDEN GLOVE, for all its grotesquerie, I still got the message.

#blogtober #2020 #the golden glove #fatih akın #heinz stronk #jonas dassler #margarete tiesel #difficult cinema #horror #slasher #serial killer #period piece #adaptation #historical #biopic #fritz honka #i may have been watching a lot of powell and pressburger movies recently #sorry...

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in-dire-need · 4 years

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OK, I’M SICK- Badflower

OK, I’M SICK was released in 2019 as upcoming band Badflower’s first full-length album. Every single track on the album has gotten its due share of the spotlight as the album climbed the billboard charts. A band that was once the underdog of the rock scene became a renowned name almost overnight. Frontman Josh Katz ties personal experiences into emotional stories to create the perfect blend of heart wrenching and riveting.

Opening track “x ANA x” serves as the perfect introduction to the chaotic world of Badflower. Its extremely powerful, vulgar, and aggravated sound welcomes all the chaos that is to come. Frontman Josh Katz had spoken out about his growing issues on tour before the creation of this album: he would have panic attacks every night on stage and could hardly stand to look at himself when off stage. His anxiety grew to such a high level that he was prescribed Xanax to calm down. “x ANA x” is written as a love letter to the prescription drug, which Katz had now developed a dependency for. He tells ‘Ana’ that even though she saves him from his demons, he can’t breathe with her around. He craves the feeling of being himself again, but he craves her more. He explains the awful life he lives without her, then the instrumentals slow down as an auditory example of the effect Xanax has on a person. He begs her not to let him lose control over himself, so he keeps her around as he destroys himself.

"The Jester” waited almost an entire year after its initial release to bask in its well-earned fame, when a well-deserved music video and an acoustic adaptation were released. Josh expresses that he feels like a source of comedic entertainment for others, as if he is only there as a jester. Everyone is just fucking him over, letting him run in circles for their own amusement.

The next track is an extremely emotional one and if you deal with sensitivity toward subjects involving depression and/or suicide, I suggest you skip past this paragraph. “Ghost” was first released as a single before being added to the set of the album. Badflower’s raw performance on The Late Night Show With James Corden is what attracted so many initial listeners to them. The lyrics depict the narrative of someone who has attempted suicide by self-harm multiple times, but has never succeeded. He thinks about how he is a constant let-down to his friends and a disappointment to his family. He wants to give in and try again, but he is worried that he will fail once more and that his pain will continue. At the same time, he wants someone to save him from this endless loop of self-destruction that he has caught himself in. He finally makes up his mind and attempts to kill himself once more. As the blood leaves his body and his vision goes dark he regrets not telling his family that he loves them and not leaving a letter. He admits that the thought of regretting what he did is so fucked up and, at the very end of the song, his last attempt succeeds in taking his life out of his hands. In another interview, Josh disclosed that the true inspiration behind the gut-wrenching, graphic track was fortunately not from a personal experience. He explained that during tour his mental health had severely deteriorated, as mentioned in “x ANA x,” and he was considering harming himself. Instead, he wrote “Ghost” to keep him from making that mistake for himself. Not only did this intent work for him, but possibly millions of people in the same situation. “Ghost” appears as a gruesome depiction of humanity’s lowest point, but actually serves as a beacon of hope for the many that are unfortunate enough to be living that reality.

Now that that emotional hashing is through, let’s progress through the rest of the album. The next wave of songs depicts individual stories of different people in extremely different situations. “We’re In Love” presents the conflict of a man struggling with his sexual identity as he begins having a sexual relationship with another man. He has never been with a man before and struggles with accepting who he is. “Promise Me” is a sweet-sounding track that expresses putting your all into a relationship just for it to be torn away from you as you and your partner grow older. This song was inspired by Katz’s fear of growing old and losing his loved ones. At the end of the trifecta, “Daddy” tells the story of a girl who was sexually abused by her alcoholic father from a very young age. The trauma permanently scars her, so when her father is hospitalized at an old age she smothers him to death as payment for all the years he stole from her.

“24″ returns the focus back to Katz’s own personal experiences in a sedated and calmed intermission. He reminisces about when he was younger and had a life ahead of him. He had hopes, dreams, and passion. In the present, he struggles with depression, anxiety, and drug addiction. This calls back to the continuing theme of Katz feeling worthless, as he states that his friends should let him die because he is too afraid to be alive. The next track was featured as a single, on the band’s EP Temper, and on OK, I’M SICK. Whereas “x ANA x” compared a drug to a person, “Heroin” does just the opposite. The song was originally released in 2014, five years before its release on the album. It is tied with “Ghost” for what is the band’s most emotionally raw performance. Josh knows that the girl he is with is wrong for him and is toxic, but he finds himself addicted to her. She treats him horribly, but he constantly finds himself going back to her. He knows that in the long-term he will escape his addiction to her, but cannot find it in himself at the time. It has become somewhat of an anthem for people that have been trapped in toxic or abusive relationships and has inspired many to stand up when found in that situation.

The calm atmosphere created by the last two tracks is destroyed as the hardcore, violent, and extremely offensive song written about people that are so afraid of change that they bring an entire nation down. Though many think that “Die” is directly aimed at Donald J. Trump, Katz has stated that it is not. Many of the lyrics point toward that conclusion, since many of the people that the song is truly aimed at are grouped in with Trump supporters. Keeping with the violent political scene, “Murder Games” solidifies Katz’s vehement stance on veganism and the consumption of meat. “Girlfriend” serves as yet another action-packed, graphic, and vulgar piece of insight into the real world. To put it simply, a man goes onto an online dating service to find love and becomes obsessed with an attractive woman’s profiles to the point where he imagines cutting her open and tasting her blood.

“Wide Eyes” continues the stories of people in horrible situations, telling the story of an altar boy who was sexually abused by the priests in his Church. He hid what happened to him from his loved ones in fear of being named a liar and being alienated from the Church. During the breakdown, he finally gives in and comes out about how the priests treated him. He accepts that he has become the shame of the Church and has been twisted into the bad guy. The album ends in the exact opposite place to where it started. “Cry” is a soft ballad about emotional pain that utilizes the use of metaphors and imagery to describe the action without actually using the word ‘cry’.

OK, I’M SICK has not only brought the band to an amazing place, but has brought Josh Katz to a better mental state. Thousands of fans worldwide have been affected by the words contained in this masterpiece, and have even been given the will to keep going. That being said, it is very clear that there are two continuing themes throughout the album: Josh’s personal struggles and the struggles of other people in these horrible situations. This album covers an extremely broad scale, ranging from suicide to internet stalking to sexual abuse. This not only raises awareness to these issues that plague the world, but serve as a message to all people personally dealing with them. By telling the stories of these people, Badflower has given real-world survivors a safe space to open up about their struggles and the memories that follow them. This atmosphere is what brings listeners to cherish this band because Badflower is more than just a band and OK, I’M SICK is more than just an album. Badflower is a home. A haven. Somewhere that, despite all the world’s troubles and grievances and sickness, you can feel safe. When most bands tell a story, that’s all it is. A story. By connecting to this vulnerable and powerless side of humanity, OK, I’M SICK crosses the line from story to message. It is a message telling you to keep going and to cherish the good that you have. It is a message telling you that the situation you are in now is under your control and that things will get better. Nothing is permanent, and that is both a good thing and a bad thing. So relax. Go enjoy yourself.

“Okay, I’m sick! Not the kind of sick that lands you in the doctor, Not the kind that makes you weak and then heals you stronger, It's the kind of sick that turns your legs into spaghetti. It’s the kind of sick that makes your blood burn and your bones heavy. The kind of sick that makes an atheist pray for Jesus. The kind of sickness that turns your power into weakness. And I'm sick of being sick for this whole fucking place to witness. And I'm living a sick life that most people call privileged. And they're kinda right, but I’m still sicker than I can cope with.”

#ok i'm sick #badflower #music

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hemlockyy · 4 years

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A response to this tweet:

https://twitter.com/LETMEVOL6/status/1318301718610923520?s=19

"ok. i’m bout to ask a question to the larries. yalls whole argument is that simon and modest are homophobic right? please explain to me how Harry got away with being such a strong advocate for the LGBTQ+ community while being in One Direction? Why was harry the only one dropping hints on his sexuality. if they were so dead set on pushing this heterosexual narrative onto the boys then how did Harry get away with the things that he did? harry was dropping hints at his attraction to males. no, not with over analyzed song lyrics. i mean dead ass saying it. I genuinely want to know because Harry‘s been out of the closet for years now .y’all claim that Louis is closete. Harry managed to get out of the “evil clutches of Simon Cowell“ what stopping Louis and doing the same? unless this whole Larry theory was a lie and y’all were bored like, can someone please tell me why that happened? if Harry is allowed to be so open about his sexuality what stopping louis? if Harry got away from Simon would stopping in Louis they all have the same opportunity Harry may be the richest member but Louis can’t be that far back so tell me how did Harry manage to get away and be so open about his attraction of males and louis didn’t? i genuinely don’t get that."

Harry has been refering to his partner as gender neutral since forever, its not something he dropped hints on.

Not only that you have to also consider the narratives management pushed upon each of them aswell: Ima try to do a brief summary on H and Lou only, as this is reffered to Larries.

Louis: Perfect Boyfriend, a stable girlfriend throughout the years, influencer pretty girlfriend, no background on her so no backlash, constant papwalks on them and the occasional 'theyre toguether' tweets. Literally what it would be normalized as a happy relationship.

Harry: Fuck Boy, dated a lot of people, womaniser, headlines every week linking him to a new person, kendall, Taylor, Caroline etc, all big names yet all stunts, papwalks, 18 months of dating or interaction then never talked about again, the boy to wisk you away to a magical night then leave you the next morning.

Now taking these both you can see they are very different narratives, thus enabling them for two very distinctive ways to hinting at their sexuality with us.

Louis due to stunt reasons had to make his love songs (or his songs overall) seem like they hint at a specific girl, eleanor. Building up on the narrative they've had over the years. So while he can't directly call out his 'perfect woman' in gender neutral pronouns like Harry does, he CAN on the other hand choose what he specifies her as: a good chef, long brown hair paired with a british accent.

Very specific things that very obviously link to Harry while making press and hets think its towards Eleanor.

That one interview which didn't air where Louis said he had a boyfriend...

But this is just verbal. Lyric whise Louis has been more open and smart then anyone I've ever listened to-

The lyrics directly paralleling gay relationship, the struggles, the fear of not being able to be with them... Everything that a Heterosexual reletionship would NEVER experience. A few examples:

→Alive - One Direction (Louis) MM

"My mama told me I should go and get some therapy"

"I asked the doctor, "can you find out what is wrong with me? I don't know why I wanna be with every girl I meet"

"I can't control it"

"She said, "hey, it's alright Does it make you feel alive?"

"We got to live before we get older. Do what we like, we got nothing to lose. Shake off the weight of the world from your shoulders. Oh, we got nothing to prove"

"Went to a party just after the doctor talked to me, I met a girl, I took her in up to the balcony, I whispered something in her ear that I just can't repeat, She said, "okay" but she was worried what her friends will think"

This whole song is about questioning you sexuality and realizing you like the same sex.

Read over the lyrics and change:

girl - boy

she/her - he/him

and you'll see what I mean

→End Of The Day (Louis and Liam) MITAM

"Love can be frightening for sure"

"All I know at the end of the day is you want what you want and you say what you say, And you'll follow your heart even though it'll break, Sometimes"

"All I know at the end of the day is love who you love, There ain't no other way, If there's something I've learnt from a million mistakes, You're the one that I want at the end of the day"

"The priest thinks it's the devil, My mum thinks it's the flu, But girl it's only you"

"When the sun goes I know that you and me and everything will be alright, And when the city's sleeping, you and I can stay awake and keep on dreaming"

this whole song (apart from that one "girl") is just a huge gay awakening. If you keep the girl its a wlw anthem then.

some more exaples from scattered songs:

"There's a moment when you finally realize, There's no way you can change the rolling tide" -Ready To Run

"There will always be the kind that criticize, But I know, yes I know we'll be alright" -Ready To Run

"Told myself I kind of liked her, But there was something missing in her eyes" -Home

"I was stumbling, looking in the dark , With an empty heart, But you say you feel the same"-Home

"Still high with a little feeling, I see the smile as it starts to creep in, It was there, I saw it in your eyes" -Home

"But I know you're only hiding, And I just wanna see you" -Through The Dark

"And I can see your head is held in shame, But I just wanna see you smile again" -Through The Dark

"And I will hold you closer, Hope your heart is strong enough" -Through the dark

"People say we shouldn't be together, We're too young to know about forever" -TDKAU

"They don't know about the things we do, They don't know about the "I love yous"-TDKAU

these are just some out of the many Louis wrote. You can see where I'm going with it now.

and im not even going to touch i to all the shading Louis did with his clothes, tattoos, actions etc...

Now, Harry 'got away' with those actions because of various reasons, but I wouldn't say that he got away, I'd call it more of a "You stop me from doing this we will get backlash for possible homophobia and then y'all lose money so suck it up fuckers we're going on a rainbow ride" which is true; Yes, Harry did always refer to his ideal partner in gender neutral forms, but during the rainbow direction project was when he really amped it up so he could always go with the casual "I'm just supporting my fans, there's no harm in that" when confronted about it, which includes him waving the flags around and all the other stuff.

But it also seems you all are forgetting about how along with all the Queer!Harry we got, we also got more and more headlines of Wom!Harry, more stunts and etc: 5 different official relationships (not counting Kendal twice, which would make 6) between late 2014-early 2016 ALSO NOT COUNTING RUMOURED GIRLFRIENDS which then would make the list go so much higher, Harry couldn't before and still can't hang out with WOMEN or else there will be rumours of them dating.

And this doesn't happen with Men :/ He can hang put with multiple men, and there probably will be barelly one and a half articles written about it -only by small outlets- which in comparison to when he is seen hanging our with a 'mysterious woman' we'll get hundreds of articles about it in a span of an hour.

So what I'm trying to say is that sadly he can still call his ideal partner a he and be seen kissing a guy that the media probably will focus on the chick on the background and write an article like "Harry Styles seen out with friends in LA and he seemed extra cozy with mysterious blonde".

But again, the same with Louis, he hints at us about his sexuality so much, be it us the only one who properly listens to him.

With his songs and the flags and the pins and everything.

Here's some of his lyrics from the Oned era:

"We were meant to be but a twist of fate, Made it so you had to walk away" -Happily

"I don't care what people say when we're together"-Happily

"I can't even think straight but I can tell, You were just with her"-JABOYL

"And nothing's ever easy, That's what they say"-JABOYL

"Pay attention, I hope that you listen 'cause I let my guard down, Right now I'm completely defenseless"-If I Could Fly

"I've got scars even though they can't always be seen, And pain gets hard, but now you're here and I don't feel a thing"-If I Could Fly

"One day you'll come into my world and say it all, You say we'll be together even when you're lost"-Something Great

"I want you here with me, Like how I pictured it, So I don't have to keep imagining"-Something Great

"The script was written and I could not change a thing, I want to rip it all to shreds and start again"-Something Great

"You're all I want, So much it's hurting"-Something Great

So yeah, its sad that you just alienated that one thing without having context nor looking at the bigger picture. If I missed anything please tell me. :]

sorry for the long post

(copied from my answer on twitter)

#answer to tweet #I wish tumblr had a option #This is copied from my response on twitter #They listerally ask the sumbest questions ffs #It was fun #such a long time I haven't written something like this

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aforgottenballad · 4 years

Text

Feelings on Sally Face Episode 5

Under a read more for obvious reasons, includes heavy spoilers and potentially triggering subjects.

Disclaimer: I might miss-remember some parts of the story or have missed a piece of lore that would settle minor complaints. I am however disappointed in the ending as a whole and in some of the very harmful tropes included in it. But I’m also just some dude online with an opinion, and you can stop reading at any time.

Rant under cut.

Alright ya’ll. I’ve had a couple days to digest the ending to Sally Face. While playing, I genuinely enjoyed some elements of the game. The chapter started on a dark but nearly hopeful note. Neil and Ash were still working to bring the cult down. It seemed likely Sal would be resurrected. Todd had apparently escaped the hospital, and that had potential to be either a very very good or very very bad thing. Maple was possessed by whatever fucked up the souls of the other apartment tenants, but hey! At least her and Neil weren’t in on the cult like so many fans predicted. Unfortunately, this series has a way of getting darker and darker as it progresses. First thing that bugged me was the lore drop about how the cult was founded. A Native American tribe. Right. Because why wouldn’t Indigenous peoples be in a story without being part of some mystical occult backstory, portrayed as mysterious historical props who worshiped something dark and evil instead of being portrayed as human beings.

But I continued. I really enjoyed playing as Ashley and getting some insight into her character. I enjoyed the task of planting the C4 in the temple... catacomb... thing. We get to see Travis again! I was excited that a lot of us were right about him being indoctrinated but also working to fight the cult from the inside. We knew he had some good in him after all.

When Ash tries to resurrect Sal, we get even more insight into her character, and unfortunately a lot of it is “Grieving, distraught, and full of self-blame”. I want to hug her. Sal’s spirit is apparently revived by those pyramids, and he can dimension warp. We meet Jim, or what’s left of him, and he doesn’t give a fuck about anything anymore but agrees to help Sal anyway. This is, narratively speaking, weird as hell. His entire character arc for four episodes was “Loved his family so much he sacrificed himself to save them”, and suddenly he’s just some glowy dude attached to Magic Spirit Tubes who doesn’t give half a shit. I guess it makes sense as a way to wrap up why he’s been able to drift between worlds but... if he doesn’t care about any of that anymore why help Sal? And what about Rosenberg? Is she like Jim, or do we just have to assume she’s magical because her family helped found the cult? (Explained in an easter egg later on, because this game doesn’t just drop its lore. Not even the CRUCIAL lore. You have to achievement hunt for it.) Sal can enter various doors in the House In The Void to step into alternate realities, and this was my favorite aspect of the game. Each door has a different art style, and I really liked seeing these alternate realities. Steve probably worked the hardest and longest on drawing out and coding these scenes. I genuinely applaud the man for the work put into this endeavor I’m assuming all by himself.

Meanwhile, Ash tries to unbind Larry’s soul from the tree house he died in, which doesn’t work. Did we ever find out why his body was never found? No? Ok that seems important.

After each puzzle, Sal’s body is restored a little bit at a time, but even after turning on all the pyramids and solving the mysteries behind all three doors, he can’t make it back to the “real” world. So Ashley kills herself. Or tries to. Because apparently that’s the only way to complete the ritual, and also because she feels really bad about not unbinding Larry’s soul and about not fixing Sal. Again, I want to hug her, but I have to watch her hurt herself instead, cause Steve doesn’t let us have nice things.

Okay, so this is a gorey game. We know. But one of the BIGGEST no-nos suicide prevention networks will tell you when consulting them about mental illness and suicide in media is NOT to show a graphic suicide in progress. Steve is aware a lot of his fans are A) Young teens to young adults B) Struggling with mental illness.

His main character suffers from depression and anxiety and this fact has resonated with hundreds of fans. It’s irresponsible to purposefully include a graphic suicide attempt, but he did it last chapter, showing a gunshot suicide’s aftermath, then he did it again with Ashley. Call me a wiener if you like, point out the graphic scenes from earlier in the game and call me a hypocrite for not being upset by that, but you have to admit the Spongebob-close-up-shot look to those scenes have a totally different feel. Speaking as someone who actually has a pretty thick skin, but is concerned about the fans who might be in a worse place or who could be as young as 12, that was fucked up.

Anyway, Ash’s attempt doesn’t take, because she’s struck by magic lightning, which infuses Sal’s soul into her. Now her arm is one of those stretchy sticky hands, but with bio luminescence and the ability to kick cultist ass. I actually thought this part was really cool, and was super ready to go on a cultist smacking spree. But again, we can’t have nice things and before we get to do anything badass we have to look at gruesome imagery again.

You get to see Void Larry, who is now old and a wizard or something, but first...

Surprise! Maple and Neil are dead! Not just dead, but hung up from hooks covered in blood! And naked!

Hey?? Hey Steve????? You know how they’re both POC?? And that lynching imagery is EXTREMELY NOT GOOD?!!????

“Two white people are hung up with them” YEAH? WELL WE’VE NEVER SEEN THOSE CHARACTERS BEFORE. THEY’RE JUST RANDOM PEOPLE.

I’ve seen people arguing “The white characters go through terrible things too” but it’s still really fucked up that by the end of the game, every. Single. Person of color. In the game. Has died. Gruesomely. It’s a gorey, dark, bleak game, and white characters die as well, gruesomely; but not all of them. None of them that are named are shown strung up, naked. That’s fucked up. That isn’t okay.

There are also a total of three gay characters in this game. One is Todd, who goes through the standard “bad bad stuff” the game is used to, is the white one, and he survives. One is Neil, one of the aforementioned people of color who died horribly and who only really existed to be Todd’s boyfriend and therefore a source of angst for Todd when he dies. The third is Travis, another man of color, and an abuse victim, who dies to fulfill his character arc as an abuse victim, which is also really shitty to see over and over again as an abuse survivor.

Look, I know Steve pulled a lot of inspiration from old TV shows and horror series that probably weren’t all “politically correct”. I know it’s always been kind of an edgy and dark game. I know Steve probably didn’t think about the repercussions of all his narrative choices. But I also know he actively ignored some people offering to educate him on issues he has no experience with. I know he worked hard on this game, by himself, but we as fans have paid him and waited for years and it isn’t selfish or ungrateful to be hurt and disappointed. He knows his audience is diverse, he knows a lot of us were attracted to the game because of a gender nonconforming main character, a main character who struggles with mental illness, a cast that isn’t 100% white and conventionally attractive. Of course he didn’t need to change the plot for us! It’s his game, his vision, but the least he could have done is research how to not actively hurt and alienate a good portion of us. I don’t think anyone is bad or racist for still finding solace in the characters and in what the story was before this, I’m not attacking you personally, whoever is reading this. I, personally, still have loads of Sally Face art in my queue, I still have active role plays going on, my Sal wig is sitting like 8 feet away waiting for the next time my friends want to take cosplay pictures. I still enjoyed playing the game for the most part. Without this game I wouldn’t even know most of my current friends. It’s just really shitty how it ended like this, and a lot of people I talk to daily either feel too sick to even talk about the game anymore after seeing people like them treated like trash by the narrative or try to focus on the good things they got out of just being part of the fandom but don’t feel comfortable supporting the developer anymore.

Even if there wasn’t all these hurtful tropes packed into the game, and yes, even after unlocking the epilogue, the game just feels cold. It feels rushed, probably because of how much time went into the alternate dimension gimmick. I wish Steve had at least consulted people over the script. It felt like not only did he pour all his work into experimenting with the mixed media, he also just took whatever expectations the fans had and went somewhere completely different just to have his story be “unpredictable”. That isn’t always a good thing. Plot twists, downer endings, dark and scary imagery, all of these things can be done beautifully, but in this case it felt like he just wanted the series to end. The game didn’t subvert expectations, it fed into the harmful stereotypes and tropes all the fans were so hopeful it wouldn’t.

...On top of not making any sense unless you’re able to 100% all the puzzles. And even when you do, it feels like all the bad stuff happened for no reason. The ending doesn’t conclude anything. Even when you unlock the epilogue, all it tells you is that a third of the world has died and that the main cast haven’t accomplished much besides “Trying to help”. Sal and Todd have powers now, but that isn’t elaborated on much. Larry’s spirit is missing, if he even exists in any plane at all anymore. It doesn’t even mention what’s going on with Ash. It just feels like nothing mattered.

#sally face #long post #analysis #sally face spoilers #chapter 5 spoilers

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ayankun · 4 years

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Sooooooooooooo can we talk about SPN S6?

Ok so Eric Kripke had a five year plan, and that worked out somehow and then the show kept going. And I’ll be honest, the whole “gotta save Sam from himself even though he’s basically fine all the time and isn’t actually a risk even though everyone keeps saying he is” storyline was dragging and I was looking forward to this arc finally wrapping up so we could discuss something else.

Be careful what you wish for, right? I wanted serialization and when I got it, I wanted to go back to the episodic stuff. I wanted to finish this story and start the next, but now that it’s started I ... I’m hoping the next ten seasons aren’t as awkward as this season’s been so far. :/

IDK. S1-5 are dated in their own ways, and I was insanely curious as to how busting into the 2010s was going to affect the style of the show, especially as the decade progressed, but -- WOW I wasn’t expecting it to go full CW dreck overnight.

And it’s not just the storylines (which have been unfocused and meandering so far (I’m on ep 6)), but the whole production quality took a hit. I can understand how changing up the chain of command at the top can trickle down, but should changing showrunners mean that you bring different cameras to different locations, and when you splice the scene together it looks like it comes from two different shows? There seems to be more studio work, too, with crappy studio equipment, and all the evocative “Americana” backwoods of BC has been traded for and compressed into downtown Vancouver.

What happened to the budget? Wasn’t this show at the top of its class at the time? Did they not trust the change over and told them to make do? Did the whole network just downgrade overnight? Arrow won’t be on the air for another two years, and I’m already well familiar with the overall production quality for this network from there on out. So am I burdened with foresight? Is SPN doomed to ride out another ten years as a vapid vehicle for ads like everything in the Flarrowverse will do?

Ok so look. Back to storylines, and back to overall style. I’m having a hard time describing, even to myself, what this bad taste is, because it’s the sum of its parts. So where, specifically, are the differences? Storylines -- no, let me correct myself, I mean to discuss structure. S1 blew me away because the monster of the week plots were just glorified MacGuffins upon which character work could be safely installed. And the character work was so good! Sam and Dean, on the road! Chasing mysteries! Saving folks! Having so many daddy issues!!! Having each other’s backs until that one time where they keep never having each other’s backs until they suddenly do again?!! Who cared about whether you can trust a crossroads demon, or who Michael was going to wear to prom?? NOT ME. Just string enough cause and effect together to support the weight of those sad tortured repressed looks Dean can’t stop giving Sam. Please. That’s all I need. Keep giving me enough narrative runway to let Sam go wild with his SAINTLIKE patience as he tries and fails and tries again to convince his stupid brother that the weight of the world can be split between two pairs of shoulders.

Where is this connection, in S6 so far? We had a whole episode about Bobby, and I will not be shy to say I skipped through most of it. No offense to Bobby (and none to Jensen, who evidently directed it), because obvs this story has opened up so much since S1 and the surviving supporting characters don’t mean nothing, BUT. But. You can’t even reward me with a little Sam and Dean bonding moment for all that?

Oh, right. This season isn’t about Sam and Dean. It’s about Dean. Dean is the main character now, and heaven help me he’s been the main character since somewhere back in S5. This is a story about Dean, the survivor, who is shackled not only with survivor’s guilt but guilt about having the thing he always wanted AS WELL AS guilt about not knowing how to do that thing right. I’m fine with this, for the record. I want to see Dean’s emotional trauma. That is literally what I’m all about. But ... where is Sam in this dilemma? What part does he play?

I read ahead a little, and I know that some of Sam’s not-Samness is literally part of the plot, so I’m acknowledging that it’s there on purpose and not a horrible mistake. As of this last ep, this season is clearly setting the stage for Dean vs Sam, and not in a brotherly way. In a “if I didn’t know any better, I’d say Sam is the Big Bad of the Season and I bet the next 15 episodes will be similarly strained” way. It’s that different kind of storyline I asked for, but didn’t want. Dean can’t engage with Sam in the same way as before, so I can’t engage with Dean (engaging with Sam) at all.

Also, I know there’s no law that says villains have to be likable, but Samuel Campbell isn’t just unlikable, he’s un-engagingly so. Even if there’s some kind of 11th hour twist and he’s not some kind of mega evil, they’re not shy about leading you down the road where he is that ultimate adversary to overcome. I mean, I’m being told not to like him, and he’s honestly not characterized as someone I’d like anyway, so I just end up putting all my “meh >:/ “ feels onto not just the character but his narrative reason for existence. I want this to be a different story (one that I like), but it’s not, and he’s in it because it’s not, therefore the story he’s in is a bad one (that I don’t like).

And I’m still not sure how to express the way the mise en scène screams “CW bitchezzzzz!!!” whereas before it just politely stated “This is Supernatural, a show from the late 2000s on network television.” This undefinable shift in cinematic tone really rubs me the wrong way and I can’t even discern what the shift is!!!!!!!!!

Also the poor hapless nobodies in the monster of the week episodes seemed to be framed differently. More intimately? Like they were real people having a bad day. So far S6 nobodies really feel like nobodies. ALSO, TANGENT, there was a particular fine line to the comedy in S1-5 which has become just ... simultaneously garish but also flat in S6 so far. Compare Pestilence wiping exorcist goop off his face with a subtly outlandish sound effect to, idk, Jared and Jensen lifelessly needling Twilight.

ok so that takes me to my last thought. We spend five seasons wondering and worrying and panicking about what some demon blood is going to do to Sam, but now in S6 Dean can just be a vampire for like, half an episode and that’s fine. There’s no gravitas. No weight. No stakes (sorry, that’s a pun we’ll just have to live with). And no payoff! Sam’s POV is not on the table anymore, for narrative reasons. He’s not allowed to open himself up for the audience to get a crack at what’s going on in that big ol’ noggin. So we’re stuck on the outside, with Dean, alone, and that’s the opposite of what I ever wanted to see.

(sorry this literally only just hit me as I was going to post -- where is the rock? Better question: where is the foundation this show spent five years laying?)

#10 year old spoilers #don't mind me #I just need to process this and then move on #lol #I feel better now

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ithinkthingsaboutstuff · 4 years

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What is with Birds of Prey criticism?

i have seen BOP

and i have read comments and review’s from different people (male and female) and i have decided to throughout my observations into the void.

now personal taste is personal taste and everyone is allowed to like or not like whatever they want.

but i will be looking at this from a ‘structured’ pov so i will be breaking the movie down into what others have got to say about it.

and with that in mind i will be taking things out of context but i will be summarising and linking to the sources when possible.

i will be looking at how people have persevere them (again male and female) and why this might be so (but i will say now that it is only my best guess, and i will try to be as fair as possible)

and i will also add i have only seen the movie once at this point so i may miss some things or misremember others

so from here on out we this will be nothing but

------------------------------------------SPOILERS-----------------------------------------

ok so with that out of the way.

PLOT

the plot is basically

Harley and the joker have broken up (joker, dumped her)

this makes Harley lose her immunity in Gotham as she was protected by the fact she was the jokers girlfriend.

black mask is one of these people and is one of the most powerful in Gotham.

but he needs a diamond (that belongs to Helena) to be the most powerful in the city,

but when Zsasz and Black canary, get it take off them by a street girl (Cass)

Harley says she will get it back to square herself with mask and he will protected her afterwards

(there is also a b plot with Helena going around kill everyone who was involved with the death of her family)

things happen

and they all end up fight Black Mask men in a amusement park

and Harley kills him on a dock.

then they all part ways.

now this is an oversimplification.

but that does allow the movie to explore the characters and their relationship's with the world and the story.

but over all an average plot but no so more them say

-the avengers (2012)

-thor (2011)

-age of ultron (2015)

-spider-man homecoming (2017)

and so on.

Criticisms

this is what one critic had to say about the movie

review from Mick LaSalle

“but no, even that makes things sound better than they are. There’s no character there at all. There’s a look. There’s an attitude, and there’s an assemblage of mannerisms, but these are all veneers surrounding a vacuum.”

“None of them suggest a personality, beyond some generalized zaniness.”

now i am no expert but is having a look, an attitude and mannerisms all things that make up someone’s personality?

i can see if he was trying to say she has not much to add to the overall story or if it over shadowed everything in the movie, for sake of being “zany”

but it was integrated into the movies narrative as a the main story telling tool,

e.g. Harley’s narration and the cartoons/ animation that came with. those where there to add character to the movie through Harley’s, so basically Harley’s personality is the films personality.

and this is what he had to say about the plot

“If she wanted the Joker back, that would be something. That could be a movie. If she wanted revenge, that would be a weak motive, but it would still be something.”

now this has some interesting connotations,

what he was trying to say with this sentiment is only something i can guess, but i will want to give him the benefit of the doubt, maybe he was asking for a story similar to ‘mad love’ from the s4 of the Batman new adventures.

looking more at the sickness of that relationship (that some people admired and fawned over in suicide squad) so if that is the case then its not a bad thought,

however the way it is phrased makes it sound like more like Harley needs the Joker to be major part of the story for it to be any good.

but Harley has had comic’s for year’s that prove the opposite.

now to compare this what he had to say about the Joker (2019)

“What’s terrifying and brilliant about Phoenix’s Joker is that he seems to be operating from an intricate yet alien form of logic. There is very little common ground between the character and the viewer, no shared understanding of right and wrong, real or unreal. He erupts into laughter without warning — a terrifying, piercing laugh that he can’t control. He sits in the audience at a comedy club, joyously and maniacally laughing at setups, not punch lines.”

now i am not saying Joker is a bad movie, I am just saying that he complained about the lack of story and character in one film and praised it in another.

now i also understand that these films are different, and they have different tones and messages. and ever genre (one is action, the other is drama)

but basically

he is saying Joker’s lack of clear “personality” made the movie good and Harley’s made it bad (again this is apples and oranges, and way to simple)

but the main point is that he has failed to look for WHY Harley is that way, or how that adds to the movie like he did for Joker.

now moving on to

Anthony Lane

“ No one could call Harley Quinn a recluse. She loves to go out, get wasted, meet people, and fight them. In onscreen graphics, she proudly reports what it is about her that vexes her opponents. (“Voted for Bernie.” “Have a vagina.”) Yet Harley is often alone in the frame—marching toward the camera in her T-shirt and shorts, smiling madly through lips of fire-engine red, and peppering us with unceasing chatter, as if words were buckshot. She lives on her own, too, with a stuffed beaver in a tutu and a pet hyena named Bruce. (As with the title, note the surfeit of nuttiness. Rarely have I seen a movie strain so hard to seem out-there.) Our heroine needs some kindred spirits, and quick.”

ok benefit of the doubt this is just a colourful way to describe the movie and Harley’s set up,

however with the next paragraph that follows i don’t think so

“No surprise, then, that Yan’s movie, peopled as it is by women who talk among themselves, with only fitful reference to men, doesn’t so much pass the Bechdel Test as ace it, while also ticking the profanity box, the ear-splitting box, and the bone-snapping box—every box, in fact, except for the tricky one that requires a motion picture to be good”

the strange thing is that he was so close to an epiphany

yes Harley is social but she is lonely that is the point of her being with the BOP, taking in Cassie.

and saying someone who is social is not able to be lonely is the dumbest thing i have ever heard.

and i can name dozens of movies off the top of my head that is a group of guys ‘talking among themselves, with only fitful reference to women’

- the hang over (1,2 and 3)

- die hard

- pulp fiction

- fast and furious (all 9 of them)

- the other guys

- Sherlock (RDJ movies)

- the dark night

- scarface

- any Adam Sandler movie for the last 20 years

-memento

- rush hour (all 3)

- fight club

like damn dude your getting all bent out of shape for women having the nerve to want to tell story’s about other women.

(and i would also like to point out that very on in the movie was a ‘bad guy’ or did bad things all throughout the film and the men are just what they are up against you know like some kind of antagonist??? fucking wild idea right, and as we all know every female villain in movies are always written with respect and dignity, can you feel my sarcasm)

and this is what this man also said about ‘ford vs ferrari’

“Ford v Ferrari” is directed by James Mangold, and it may be his strongest film.

like dude you are showing your hand here.

but i am not wasting any more time on this dude.

let us move on to the lady’s

MOLLY FREEMAN

“the movie ultimately embodies different kinds of liberation - not only of women breaking free from their abusive boyfriends, psychotic employers and the restrictive boy's club, but also the freedom and power that comes with finding a group where they feel accepted and supported.”\

“Cathy Yan's directing and vision for the film, which is realized in the action, costumes and music. The fighting sequences are absolutely brutal and choreographed in a way to showcase the characters' respective abilities. Harley's gymnast moves make a return, and when she gets her hands on a bat, the Cupid of Crime really lets loose - and it'll leave audiences breathless with exhilaration. Birds of Prey stands out because it's uniquely female, from the characters' fighting styles down to the details of Harley pausing mid-fight to give her friend a hair tie. This further extends to the costumes, designed by Erin Benach (A Star Is Born), which are exquisite and perfectly showcase each character's personality.”

Susana Polo

“Each character’s storyline is given a slightly different genre and tone, as well, one of a number of tactics the production employs to mimic Harley’s manic internal life. Huntress stalks around Birds of Prey like it’s a Kill Bill-esque revenge epic, while Renee Montoya is in a hard-boiled cop flick. The main heroine ensemble actors all breathe a wonderful amount of life into little-known characters overdue for mainstream attention.”

“Winstead delivers a comedic twist on the Huntress’s classic personality that I hope makes its way to comics as soon as possible, and the 13-year-old Basco deserves particular credit for holding her own alongside Robbie in their many scenes together. Robbie’s Harley Quinn is just as scene-stealing as she was in Suicide Squad, appearing to operate on at least 20 percent cartoon logic at all times — a useful skill for an occasionally fourth-wall-breaking narrator. Cartoon-channeling is also a useful skill for the star of a movie with such splendid fight scenes.”

now i am not saying every man hates the movie, and every woman loved it that is insane and dumb.

but what does seem to be a common theme is that positive or negative, men and women are looking at different aspects of the movie

women look at the movie on its own terms and men seem to look by comparing it to other “guy movies”

now this a generalisation but this is a common idea that seems to run through it.

and here is some general thoughts from some people who have made comments, online.

female

“I am sick and tired of being told what movies I need to like as a woman, this is a bad movie. It isn't a zero nor is it a ten and anyone rating it that way isn't being honest either with you or themselves. The storytelling is odd and the flashbacks are weirdly placed to the point where they take you out of the movie. This movie has too much exposition and then not enough which I congrats I guess. I don't think men are rating this film low because they are "man babies" I think they are rating it low because there are far better superhero and anti-hero movies out there to choose from.”

this is based on personal taste and why it didn’t sit right with them (and that’s fine)

male

“A rush movie without any type of storyline and God knows where they are heading with DCEU and it's characters..It's only Harley and Harley who has never been in BOP in comics...Mis usage of characters and movie..Just make a decision where do you wanna go with your movies”

now this interesting, when this people has the same feels as the person above

they don’t look to the movie itself they look to find out evidence to discredit instead of anything in the film itself.

again i am not saying this person is wrong to feel this way i simply think the method of expressing it, is interesting.

(and for the record this is actually an incorrect statement Harley and Poison Ivy have been apart of the team at different points)

male

“The girls looked terrible like they were going Break-Dancing or something and Harley Quinn was dressed up like a Bird with makeup?? The ending was ridiculously stupid and predictable and the misogynist male pig attitudes towards the females in the film were jaw dropping cringe moments, like who acts like that??”

now this is about appearance, and the male characters, now this is showing that men see a violent, man who literally gets someone to cut a MAN’s face off

and the only thing they focus on is that ‘oh he is mean to women damn SJW’s’

that is the weird’s thing? like you the bad guy is bad to the hero’s? shocking.

now i am not saying that the character is perfect and well crafted like loki or kilmonger but he serviced the purpose he was meant to, he was powerful intimidating and unpredictable.

(and black mask has always been a nut case)

but i also think its interesting that these men who cry about SJW’s and how they mock men (and that does sometimes happen, it would be dumb to say they didn’t)

never seem to mind that that women get called bitch’s and whores in every other movie.or that women are used shallow props to move the movie along.

almost like it is distressing when you see someone you can identify with is treated like the peace of garbage.

female

“The Film was decent enough for a lowkey Friday night out with the girls. Nothing you'd rant & rave about or even remember seeing in a few months but it was entertaining in places. The script felt a little bit underbaked & the story itself felt a bit disjointed. The direction of the film was lacking for me. In a world where Todd Phillips pulled off Joker (2019) this seems like a more rushed project that would've been better at Netflix or even Amazon Prime for release. I think the deserve another crack at this movie & another attempt at something with a bit more substance”

honest to the point and is looking at the movie on its own term's

notice how she does not need to devalue other women to get this across, not the character’s, not the write or director but was looking at it from a personal taste and rewatchablity,

the anger about this movie is so strange

like how many hero movies have been worse then this and was not taking very chance they get to bash the creators and that they should not do their job’s because the movie had women as most of the cast and was mainly about them.

anyway i hand it over to all of you.

#Birds of Prey #birds of prey movie #Harley Quinn #bop #long post

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lhs3020b · 4 years

Text

Post Mortem

I promised some thoughts on the nightmarish debacle that has happened. Here they are.

TL;DR I am scathing about everything. Everyone who should have helped us, failed.

It's the morning after. They've won. Continuity Remain is dead; there isn't going to be any second referendum and Article 50 won't be revoked. You cannot imagine how I feel right now, typing those words. However, I have never sought to deny reality (however lovely denial might be) and reality is what it is. We've lost a referendum and two general elections; we're finished. There is no come-back from this. The country has made a sick, twisted, greedy, myopic and stupid decision - but that's the decision it's made. I have nothing good to say for what happened, except that it did happen.

Well, let's look at the one tiny silver lining: since the ship has now sailed, I can indulge my deep, seething pool of vitriol for our collection of useless opposition parties. I'd held back previously because I didn't want to add to the circular firing squad. But they've all shot each other now and the corpses have largely stopped twitching. So off we go. (Before we start, I won't be writing about CUK/TiG/Change-UK, because they were just annoying, and I can't be arsed. I think we've all spent enough time on that shower of idiots.)

Here's the core reason for why I'm so angry: all this was completely avoidable. The media will, of course, spin BoJo's victory as a paragonic triumph of political conservatism. Like that infamous Pravda article from the 30s, on the Soviet constitution, they'll fawn over BoJo and declare him a visionary and a victor, a veritable genius of the ages, dripping with lyricism and wit. He isn't. He's an over-promoted buffoon who lucked into the top office due to the self-destruction of his inept predecessor, aided and abetted by a lying and sycophantic media - and, by a collection of opposition parties whose sole interest was in fighting each other.

Here we have the real core problem. The people on our side only switch on for fighting each other. There's little sign that they actually really care about Brexit, or the wider state of the UK. But pursuing partisan vendettas against each other? Wheeeeeeeeeee!

Let's think back to the summer, when BoJo was faced with stalling polls and a hung parliament. He could have been ousted then - but, of course, the Lib Dems were adamant that they couldn't countenance the idea of Mr Corbyn as Prime Minister. They'd had this tendency for a while - it's not new - but it accelerated and was nurtured under Jo Swinson.

When she was elected as leader I was initially a bit sympathetic - it seemed reasonable to give her a chance. Unfortunately, it turned out that she might be the most rightwing leader they've ever had - I actually suspect now that she might be to the right of Clegg. And she went and turbocharged all of their most self-destructive tendencies. I think what she thought she was doing was clawing Tory Remainers off of the Tories. This ran into two problems; 1) there weren't that many Tory Remainers to begin with and b) most of them are more Tory than they are Remain. So they mostly stayed put, and they few who did leave (thank you, to those of you that did) just weren't enough. Meanwhile, the hard-right tilt scared off the Lib Dem's left-leaning supporters.

A while back I predicted they'd lose seats at this election; I'm sad to have been proved right. I am, however, grimly-amused that Swinson herself lost her seat. The other problem with Swinson's rampany anti-Corbynism was that it partially demobilised continuity!Remain. A lot of people sensed that she was more anti-Corbyn than anti-Brexit; that also implied no plausible chance of an anti-Brexit coalition. Hoenstly, given how overt and personal the vitriol between her and Corbyn got, it's hard to see how it could ever have worked. And there's no point voting for something that you know is impossible. I do wonder if maybe this switched some left-leaning people off, or perhaps even sent a few ditherers back to the Tories (under the assumption that any sort of government is better than no government, I suppose).

As for the Lib Dem campaign, it was a mess. At one point their leader went on air to deny killing squirrels (yes, seriously, this actually happened). She got all excited about thermonuclear genocide at one point, because that's not at all weird and creepy, amirite?! Then there was the bizzarity that was "skills wallets" (don't ask - basically, the sort of policy abortion that happens when a collection of wonks are locked in a room with a boxed set of the West Wing and too much cocaine).

[OK, I'll expand this one. Briefly, skills wallets were a weird continuing-adult-education idea, where you'd have a pot of money that you could access at certain ages, apparently to take some kind of training or re-education or something. Why the ages in question, why that amount of money, and why not just make adult-ed free at the point of use, were never really explained. Then there was the can of worms that was additional voluntary contributions - what I took away from this was it was the adult-ed version of pensions auto-enrollment. I spent the last four years fighting a corrupt auto-enrollment fund, so I have strong feelings here!]

As for general themes, really, the LD campaign didn't have one. There was a lot of "Corbyn, THE MONSTER, the monster, Corbyn!". And, kind of oddly, there wasn't actually that much about Brexit. It actually didn't figure very strongly in their campaign. You came away from watching it all with a) a bad taste in your mouth and b) a nagging feeling that these people didn't know what they were doing.

To be fair to them, their vote share did go up, a bit - from 7.4% in 2017 to 11.4% yesterday. Which is, uh, not exactly dizzying. And it seems to have happened in all the wrong places, so they still managed to lose seats overall.

OK, we've gawped at the piss-stained ashes of the old Liberal Party, lying in state where some eggregious family-member has dumped them, on a roadside verge in the middle of nowhere. (Perhaps some enterprising squirrel has buried a nut amongst them.) Let's move onto the other vast, soul-sucking black hole of despair, also know as the Labour and Co-operative Party.

Oh dear god. The Labour Party.

The Labour Party is Britain's perennial second party, and nothing that happened last night challenged its second-place status. Their vote share dropped by 7.8 percentage points on 2017; this is what produced the Tory landslide, essentially. The Tory vote went up a little, by about 1 point, but otherwise stayed largely flat on 2017. This time, though, Labour collapsed. They lost a swathe of seats across the country, including places like Bolsover and Blyth Valley, which were previously rock-solid.

What went wrong? Everything. Basically, the stars aligned against us, in every single way.

First of all, Labour's campaign was dogged by the antisemitism scandal. And you know what? It was bloody well right that it did. The leadership dealt with antisemitism by ... doing nothing. Anyone who tried to raise the issue instead would get "Corbyn outriders" dumping on them on Twitter. Apparently we're suddenly not allowed to be concerned about racism on the Left anymore? Frankly, fuck that.

What they should have done was a quick-and-brutal party purge, perhaps early in 2018, when there was still time. Take some initiative, get control of the narrative again, and get rid of people who are only going to shit all over your campaign. But, uh, no. That didn't happen. I'll note that the Chris Williamson show in particular went on far, far longer than it should have.

Then we come to Brexit itself. Corbyn spent three years equivocating on the issue. OK, I'll allow that in hindsight, perhaps strategic ambiguity made some sense back in 2017 (though note that they still lost that election too). It didn't by 2019. But Corbyn was still trying to stand in the middle of the road as late as the summer - and by doing so inadvertently opened up political space for the (brief) Lib Dem revival, which in turn shunted Labour onto the defensive. And as I believe Paddy Ashdown once said, if you stand in the middle of the road, you get hit by traffic.

Eventually, the Labour leadership reluctantly adopted a second referendum position, but by then the damage was done. Basically, Corbyn had convinced Leavers that he was a Remainer, and Remainers that he was a Leaver. Labour appears to have lost votes about evenly across both Remain/Leave areas(!). In a way, he actually did unite the country - just against him. Ooops.

The rest of Labour's prospectus was a mess this year. Home Office reform was de-emphasized (arbitrary deportation by the Home Office is a huge concern amongst ethnic minorities). Drugs-law reform seems to have fallen off the agenda. There was no obvious theme to the campaign - surprising given that 2017's "For the Many" theme did cut across. Instead the "offer", such as it was, appeared to be a largely-incoherent grab-bag of spending promises, some of them with very large headline numbers. (The £58 billion for the WASPI pensions thing stands out there.) A lot of people simply didn't believe the country could afford it. You don't vote for things that you fear will bankrupt you.

Also, in a way, there's a parallel to the skills wallets thing here. Labour would have been better off, I think, just doing something straightforward like saying, "If elected we'll raise disability, sickness and unemployment benefits by £x per week, and we'll get rid of the ATOS fit-for-work assesments". It would have the advantages of simplicity, clarity and a clear political theme. Instead we got this weird fiscal machine that would produce some of those effects, except via a complicated multi-part kludge (which probably wouldn't even work properly anyway). I don't know how this came about; presumably it was an after-effect of one of the party's unending internal power-struggles.

Corbyn himself is a controversial figure, from his past associations with the IRA (more vague than the press would have you believe, but still a drag on the doorstep) to the perception of socialist extremism. Again, let me note that the "but he's a Communist, because that starts with 'C' too!" stuff is disingenuous, but this perception exists, and the Party have not found any apparent way to challenge it. Honestly? If your candidate is a ship that's holed below the waterline, yes it is horribly-unfair and all the rest of it, but you do need to run someone else. (I see no point softening that punch ; while Corbyn's been leader, the whole UK has voted 4 times, at 2 general elections, 1 referendum and 1 EU Parliament election. Every time, Labour has bombed. It's hard not to see a pattern here.)

Finally, the Labour Party itself has failed to ever re-unite. It's effectively two political parties in one - or possibly three, depending on how you want to look at Momentum. On a fair day with a strong wind, the Parliamentary portion sometimes manages to move just-about-consistently, but nothing else seems to have that behaviour. Honestly I suspect a lot of people's real fear about a Labour government is not that it would be a socialist tyranny, but rather that it would implode within about six months. Labour has lost its way amongst a storm of factional infighting. To be fair to Corbyn, this isn't new. Ed Milliband's desperate tenure was derailed by internal struggles. Even the 1997-2010 period had the ongoing squabbles between Brownites and Blairites (remember them?).

So yeah, Labour's campaign was an absolute shambles this year, and the whole country is suffering now for that.

Lastly, let's have a quick look at the Green Party. Where were they this year? With Extinction Rebellion making headlines, the Amazon burning, Australia on fire and weather records being smashed everywhere - remember that day when we had summer back in February? - it should have been the Greens' year. Environmental concerns are going up in salience - people are starting to get genuinely worried. And, uh, where were they? I can't recall hearing a single peep from the Green Party during the election. Whatever it was they were doing, it seems to have completely failed to capitalise on the moment. Perhaps they should have been a bit more visible.

The only people who come out of this with any credit are the SNP. I haven't heard anything teeth-grinding about them - though, that might just be because I live in southern England.

Oh, and let's take a final kick in the teeth, shall we? If you add up the shares of the votes received by pro-second-referendum parties ... guess what it comes to? Yup: 52%, versus 48% for the pro-Brexit parties. 52/48 - aaaaargh! Yet, the 48% had a narrative that kept their vote all in one place, so they won an absolute majority at Westminster. Ours got scattered to the four winds by several separate inept campaigns and several useless party leaders. Had there been a second referendum, we could have won it. But we never got the chance, because everyone supposedly on our side were completely, perfectly, useless.

Sigh :(

#UK internal politics #diary of a disaster #We're surrounded by idiots

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