knivxsanddespair  asked:

Why should all traitor theories be all gritty and serious? I mean, maybe Jirou can be a little insensetive to Kaminari, He blows up, went missing, later found out he was training with a villain and wipe the floor on jirou and 1A. Maybe after a heartfelt apology he can turn back to good. Comedic angles and all.

Hehe I actually can see something like this being played off in the bnha SMASH spin off ! In canon though I’m sure there are some serious consequences for the traitor especially with the casualties + the damage they’ve done to U.A.’s image. Some major redemption arc would be needed to earn the complete forgiveness of 1-A, I think.

17. Instead of XYZ happening, I would have made ABC happen…

Lord. With Once, mostly I wouldn’t actually totally change major arcs, just edit them. I think a lot of the plots are actually good, the execution just often leaves something to be desired. That said, the chunk of Once I would have edited most heavily would have to be most of the Underworld arc.

I really liked the first episode in the Underworld, and I liked some of the narrative beats there, but overall it felt so muddled and weird. Hades never made any fucking sense as a villain, and his connection with Zelena was so paper thin and vague… So. Make the theme of the arc one of facing ghosts from the past, literally.

*Edit Zelena’s background some, and turn her into Persephone, except the story was wrong - she wasn’t kidnapped, and her mother wasn’t furious - Cora sold her and her magic to Hades in return for Hades’ assistance in some plot. Make Zelena’s angst purely about familial love, and make Cora earn the forgiveness she gets by helping Zelena, thanks.

*Give Hades some fucking motivation for torturing Killian so much. I mean, good lord, I am not complaining at the content, because I do so love seeing that man in pain, but give it some kind of meaning, even something like being explicitly about getting Emma down there in the Underworld to somehow take advantage of her Savior-ness - which could be read as the reason, but is in no way clear.

*Let Milah move on. I actually accept the tragedy of her not actually seeing Killian to be a pretty great knife in the heart, so to speak, but her sacrifice just felt so pointless.

*Don’t kill off Robin. I mean. Jesus. It was just so shitty and ridiculous to be Super Srs about death as a show in the same goddamn episode that death is no big deal, Zeus ex machina, lol. Like. What. The actual. Fuck. Instead, have Marian there in purgatory, and he has to help her move on.

*In general, more content about Helping People Move On (or not) as the case may be, and the gift of closure.

*Make the arc for Rumple and Belle be about Rumple legitimately letting the Dark One thing go for his future child. I know, they’d never do it, but for an arc about facing past ghosts (maybe *literally* Neal, among others) it could have been done, and done well.

Wasted opportunities right and left in 5B, sigh.

23. Unpopular character you love?

Huh, this one’s hard for Once, because I don’t really *love* any unpopular characters. I like Neal more than a lot of folks I know, but I can’t say I love him as a character. Ditto Zelena. 

Isaac Heller, maybe - again, I wouldn’t say “love”, but I find his character weirdly delightful. Smarmy and full of himself and jealous and petty and also *clearly* a gifted writer and intelligent. I don’t buy that “oh woe is me people were mean to my nerdy ass so I get to lash out and it’s fine” and I do not sympathize with him at all, but I just find him and his self-absorbed self-righteousness funny.

Why Amethyst not hating herself anymore is not out of the blue - or an Amethyst development analysis season per season

This was originally a reply to another post, but people asked me to write it as it’s own post so why not.

Amethyst’s character development has happened on screen apparently this need clarification since early season 1.

In the episode “Tiger Millionaire”, season 1 is when we are first introduced to Amethyst’s inferiority complex. We learn she doens’t feel appreciated by the gems and uses wrestling to feel better about herself.

In the end, the gems let her wrestle, recognizing how pressured Amethyst felt.

The next important episode in Amethyst’s development is “On the Run”, season 1. We learn how she was made in the Kindergarten and how she sees herself as bad because of it.

She thinks Pearl sees her as “a mistake” and the episode ends when Pearl reassures her that she think Ame’s good and the two reconcile.

This is the first step of Amethyst’s development.

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major One Piece arcs, or as i like to describe them

  • Hachiko and the evil clown pirates
  • Pinnochio’s origin story
  • pirates vs. chefs vs. Dracula
  • literal loan sharks
  • Pinnochio 2.0 except it’s just the whale’s sad backstory
  • norse giants on jarassic park
  • Rudolph except sadder and worse
  • Mafia Boss Captain Hook Tries To Take Over Egypt And Nearly Succeeds
  • god tries to kill everyone for shits an grins and then flies to the moon
    • alternatively: native american history, the anime arc
  • play silly games while evil count chocula steals your friends
  • furry spies, sad boats, and government conspiracies
  • halloweentown: the island
  • cyborgs, bubbles, and racism
  • medusa + amazons
  • Dante’s Inferno 
  • mini world war 1
  • The Little Mermaid except with more racism
  • this is why kids shouldn’t take candy from strangers
  • Toy Story in spain with gladiators
  • furries: the elephant
  • Alice in Wonderland meets super sentai assassins meets The Godfather

one of my favorite things about my hero academia and mob psycho 100 is that they subvert the “children aren’t seen as children” trope

it’s a popular cliche in action/drama manga for adults to involve what are essentially still young adolescents and teens in very dangerous, very heavy situations and expect them to just…not cry, not feel anything, not be fucking kids about it. these middle school and high school children are supposed to risk their lives, watch their friends die, fight enemies much older and more experienced than themselves, all with dry eyes and a solid resolve

mob psycho and my hero avoid these tropes with characters like arataka reigen and inko midoriya. 

in mp100, during the first major arc of the series, the esper kids were in the middle of facing a team of adult espers. reigen was the one to step in and basically say, “you guys know you’re fighting fucking children, right? like…you grown-ass adults are having a serious fight with middle school kids.” and he assures the young teens that he should be the one to take care of things bc he’s the adult.

in bnha, deku’s mom is seen as comically overprotective, but like…she’s just being a mom?? like i’m sure a lot of people were annoyed that she almost prevented izuku from dorming at UA because she was too worried about him, but if you really think about this, she’s completely justified. she’s seen her 15-year-old son break his own limbs, rendering his body bloody, bruised, and completely uselesstime and time again, as well as a fellow child abducted by villains while under the supervision of that very same school. what fucking mother in her right mind would allow her child to move out and permanently dorm at UA after experiencing all that??? she eventually concedes but like!! still!! she’s totally right! she’s a mother! she’s supposed to be concerned about her son! 

it’s crazy how desensitized we’ve become to parents not acting like parents in shows like this (or parents being absent altogether, ‘cause, y’know…angst and whatnot). like, yeah, i get that a large portion of it is wish fulfillment aimed specifically towards adolescents who want to escape the mudanity of dealing with nosy, overprotective parents and get to see themselves as heroes who don’t cry and blah blah blah, but still. 

it’s just really refreshing to see parental figures in anime actually…be parents once in awhile, y’know?

anonymous asked:

/post/159946508851/on-a-scale-of-1-to-10-how-likely-do-you-think-is after s3, what are your thoughts re: sheith (and maybe kallura as well)?

Short answer? I think sheith makes the most sense now more than ever. Season 3 was the time where I feel like we should have an idea of where major characters’ main arcs and interrelationships are going. If they were going to follow through with ka/llura, they should’ve rolled with it right off season 2 while they still had the momentum. But for Keith, his relationships with everyone else are very clearly pushed into the background while his feelings for Shiro take center stage. He’s the one who really grieves him, who has this single-minded devotion to find him, who adamantly refuses to abandon him. 

The way Keith finally revisits Black and speaks as if Shiro can hear him, tells him things like “I know this is what you wanted for me, Shiro. But I’m not you. I can’t lead them like you did,” and “This one’s for you, Shiro”–it’s a level of vulnerability he’d never reveal to anyone but Shiro, and so still reaches out to him in his absence. Like, this is after everyone at the time tried to tell him they were there for him. If he wanted to talk, he had people willing to listen. But he still only wants Shiro

And we see this intimacy mirrored in Kuron. Again, if you wanted to pair Shiro with a love interest, shouldn’t they be the only one trusted enough to care for Kuron at his bedside? Didn’t the tone of that scene feel completely different from what you’d expect from a brotherly or platonic relationship, and much more in line with something romantic? The air was way more charged compared to say, Keith’s talk with Lance. The scene was heart wrenching, dramatic, and showed the easy intimacy between these two. 

Keith has this pre-established backstory with Shiro that’s still being kept a secret from us–which in itself is suspicious–and whatever happened between them, it was enough for Keith to be so enamored with him, to still spend all this time chasing after him. It’s the kind of intimate love you’d only really expect from a character’s love interest. The fact that Kuron and Keith’s reunion is also a private affair (and the way it’s framed with both drifting into each other’s orbit nice and slow, complete with longing gazes)–that’s very different from a loud, happy reunion with the whole team. And excluding the other paladins from the scene was a very deliberate decision that adds to the intimacy of it. It feels incredibly romantic. Not to mention all the sheith and zaggar parallels that make no sense unless it was to show that, like zaggar, sheith is also romantic. 

But most of all, I think what really clinched it was the way Kuron teases, “How many times are you gonna have to save me before this is over?” and Keith’s tender, heartfelt, “As many times as it takes.” This idea that Keith will always be there to save Shiro, and that both are so unabashed in their admission of it–that Keith will always be there for Shiro no matter what–that’s love. 

And you know, I honestly thought ka/llura was much more likely before season 3. But now? I really don’t see it. Because if they were going to expand on Keith and Allura’s dynamic in a deeper, more intimate way, I feel like now would have been an opportune time to do so–what with all the pain and grief Keith’s going through and Allura’s first time flying a lion. If they were set up as love interests, I would expect them to anchor each other in this time of great upheaval. But that’s simply not the case. 

To be honest, I think the only episode that really felt like ka/llura to me was Hole in the Sky. But the interesting thing about that is–with the intro of Sven, it really feels like a homage to 80′s Voltron. And to me, it honestly seemed like they put ka/llura moments in this episode specifically because of that throwback. Their interactions feel in line with something you’d expect from Keith and Allura in previous incarnations of Voltron I think. And the character development we see for them here really feels like part of that nostalgia factor to me–Keith comforting Allura in quiet moments and giving her advice and things like that. 

But now, let’s talk about the only other time when I think Keith and Allura have a significant moment, because I do think it hints at love–but in a different direction. When everyone tries to comfort Keith at the end of the first episode, I think the other paladins really missed the mark. 

Lance, Pidge, Hunk–the rest of them talk about what Shiro means to them, and they do so in a way that’s very impersonal–he’s my hero, he’s a legend, he was a mentor. They all talk about Shirogane the paladin and star pilot, not Takashi the person. And none of them ever mention or stop to think about how Keith feels. If they were really trying to console him, they should’ve focused on that.

As someone who’s also suffered great loss, Allura understands this more than anyone. She’s the only one who actually says why Shiro’s so important to Keith, the only one who really reaches out and gets through to him. Shiro’s loss was deeply personal, an ache that will never heal. She knows this, knows that to Keith, Shiro is simply “irreplaceable.” 

And really, I think this moment was a heart-to-heart between the two of them, something that Keith really needed to hear. But it’s not about how Keith and Allura feel about each other, it’s Allura reaffirming that Shiro means the world to him. The conversation also isn’t private, it’s with friends, found family–which makes Allura seem more so part of that family rather than this just being about her and Keith. Compared to say–things like Kuron’s bedroom scene where the two are entirely alone and it feels much more intimate. 

There are other factors that contribute to this of course, like the dark lighting, extreme closeups, framing, Kuron’s haggard appearance and the fact that they’re both dressed down to emphasize that they’re allowing themselves to be vulnerable, the setting, context, Keith being the only one allowed at his bedside, ect–all of which make it feel more romantic

And in that sheith scene, again, Keith and Shiro reiterate how much they mean to each other. Allura and Keith never do this. And you know what? A character mourning the loss of someone they hold dear, someone they can’t move on from, and their friends coming together to talk them through it–it really gives you the sense Keith is mourning a lover. It’s a kind of intimate grief you usually see reserved for a love interest. 

I think the way Keith was so indifferent to Allura’s inexperience flying Blue also came across as extremely cold and callous if they’re supposed to be love interests. Like, if you want there to be romantic chemistry and yet you have all these scenes where Keith is outright ignoring Allura when she’s in trouble, that just doesn’t sit right with me. Even when they first lose Allura, Hunk says he’s going to get her, and Keith is mad about it. He literally groans and just tells the others to keep up. Allura’s struggling on her first day as a paladin, and Keith’s just annoyed with her. Compare this with any time Shiro’s in trouble, and you’ll notice an immediate difference. Shiro’s safety always comes before the mission for Keith, but he doesn’t really afford Allura or anyone else that luxury. And it’s just one of the many reasons why Keith and Shiro’s dynamic strikes me as romantic 

So again, Keith’s not the one who’s there for Allura when she needs them, but the other paladins are. To see Keith actually lose sight of the safety of his team over chasing Lotor–and to be entirely dismissive of Allura’s safety especially–again, it doesn’t read as a potential couple to me 

I think Allura and Lance however do have a lot of chemistry in season 3, and I feel like a lot of their scenes read as something along the lines of buildup to a future relationship. Lance is the one who Allura has a heart-to-heart with about her very personal connection to the Red lion and what it means to her–that easily could have been a conversation she had with Keith, but it wasn’t. And it’s Lance, not Keith, who vows to carry on Alfor’s legacy and not let him down–another Altean King in the making maybe? (And I mean by marriage of course, not the popular Altean Lance fanon). And “If I had to lose Blue to someone, I’m glad it was you,” sure seemed pretty romantic. Not to mention how he’s the one that really welcomes Allura to the team, not Keith

Allura also tells Lance what the significance of her pink armor is, which again, shows just how much she trusts him. She’s also the one who really encourages Lance to be the Red paladin and tell him just how important he is to the team. Then you have other little things here and there, like Allura stoping to ask herself What would Lance do? when What would Keith do? could’ve also been possible, given that he’s there leader and it makes sense to look to him for guidance. She acknowledges that Lance is a natural and clearly cares about him throughout season 3. And Lance was the one who really noticed how amazing Allura is when she’s fighting and he never bothers her with annoying flirting. If anyone was setup to be with Allura honestly, I think it’s Lance. 

Going back to sheith, I’ve already talked about it so much already which is why this was a bit more on ka/llura, but basically my point is–sheith was built up like a romantic relationship from season 1 until season 3, ka/llura was not. 

Random Tip: Begin your campaign with a by-the-numbers story arc.

My office 5e campaign just wrapped up it’s first major story-arc. There are still threads that can be followed up on, and there are indications of a greater threat in the world of Edhenon– but we came to a satisfying resolution on a goal the players have spent four levels trying to accomplish. 

The arc was pretty generic: The characters were attempting to join an adventuring guild in the city. There were side treks and mini-missions involved in that, but everything was built on gearing for their initiation event. 

This required very little brainpower as Dungeon Master- Generic bad guys, generic macguffins, generic “Help us!” situations. 

Over the last few months of play, the players have been able to learn about and fine-tune their characters personalities and their wants*, and I’ve able to quietly absorb all of that information. Now, as I’m setting things up for a second major arc, I’m filled to the brim with ideas on how to make their lives more interesting, and the consequences more personal. 

The training wheels are off, and I can now hurt much more than the characters’ HP. 

(*Player Pro-Tip: What your character wants is so much more important than your backstory. I’ve seen players fill up pages with backstory, and no idea of their personal direction forward. Don’t be that player!) 

It’s a pretty picture...

Season 7 might have been a mess mostly but if Little Finger already planted the idea that Jon and Dany will form a marriage alliance and be invincible, and they’re already shacking up (albeit not knowing Jon’s parentage and their unwittingly committed incest), it’s already too predictable to end on that note. That’s a fantasy genre trope of two attractive messiah-like characters ending up together and there’s peace restored in the realm. It’s the oldest story in the book waiting to be subverted, especially because there’s actual history and politics acting against it here. If the boat b*ng montage in itself didn’t spell out doom and power struggles, then the obviousness of it all did. 

GRRM has stressed on details of ruling having less to do with being just virtuous but also being more calculative in administration. Sansa is the character with more connections than Jon or Dany to rest of Westeros and more supporters from a vast array of groups. At this point, if she wanted to be queen and she tried to mobilize these connections through almost every kingdom in Westeros, people would root for her over Dany or Cersei and even Jon, considering the Northerners’ anxiety about him going South and now him having bent the knee (Seriously, need him to be having ulterior motives at this point). She doesn’t have the military strength to go up against Dany though, but the way Dany plans to rule is through evoking fear and intimidation, dismissing the counsel of her advisors, and after a bunch of mad and/or incompetent Kings and Queens, Sansa would be a welcome change. 

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Revolutionary Girl Utena: Complete Triggers Guide

Revolutionary Girl Utena (Shoujo Kakumei Utena) is a 1997 anime directed by Kunihiko Ikuhara.  Utena Tenjou is an eighth-grade girl who wishes to become a prince, and because of it gets caught up in a strange dueling game played by her fellow middle- and high-schoolers. As Utena fights to protect – and befriend – Anthy Himemiya, her shy classmate but also the mysterious Rose Bride at the center of the duels, the stakes become higher and the game more dangerous. 

Utena is an amazing and very worthwhile anime, but it is also an extremely intense and disturbing one. I love the show, but it is irresponsible to recommend it to people without a warning about the subject matter. I believe Utena has the potential to be be very cathartic and comforting for people, especially wlw, who’ve experienced trauma, but also very dangerous with regard to triggers. I’ve put together this guide so that people curious about the show can be forewarned and watch it in safety, or choose not to if they deem it too disturbing.

Many thanks to the volunteer editors/proofreaders who helped me complete this!

🌹 @sallyjessyrofl​ 🌹 @autisticbutchgabrielle​ 🌹 @meowmagica 🌹 @tartancrusader 🌹 @amphiaria 🌹 @omelasomelette

And to the people who’ve submitted corrections:

@marquisnaberius  🌹 @ lesbeanfrodo

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anonymous asked:

Any tips for writing a musical?

Oh man, we wish. It’s not something either of us have masses of experience in, besides being massive fans. From a purely storytelling/structural perspective, here’s what we’d suggest (though please feel free to reblog with more info if anyone has more specific advice): 

  • Find a strong concept - Are you fitting your story to a specific style of music or vice versa? Do you work better by throwing yourself into songwriting or do you need a story outline first? Maybe you have a theme or a spark of an idea or a fully fleshed scene/song in your head. Start with that, brainstorm, and expand it out until you have a more thorough understanding of what you’re trying to create. 
  • Plot out your story arc and major turning points - Treat it like any other narrative and map out your story’s most essential points. These turning points (eg: the inciting incident, the midpoint, the climax, and other major plot points) are likely to end up as the central musical numbers. Start with those - think about how each song represents a ‘point of no return’ for the characters (eg: One Day More from Les Mis) and then start connecting up the dots in between the big numbers.
  • Follow the holy trifecta of storytelling: You need a CHARACTER who has a GOAL they want to achieve, and then you need to throw a whole load of CONFLICT standing in their way. Each scene/song needs to contain all three things, even if they change throughout the story - for example, your protag’s goal might veer off into a subplot half way through, or they might have to cope with three different aspects of conflict at a moment of peak crisis. But if your scene feels flat, it’s probably lacking one or more of those essential ingredients.
  • Connect your characterisation with music - What style/instrument/atmosphere of music suits each character? Your main characters will probably develop their own ‘theme’ that needs to be established and interweaved with others during the course of the show. Look at Eliza’s string-based motif in Hamilton - it crops up again and again, as well as those oft-repeated lines “look around, look around, at how lucky we are to be alive right now…” sung by different characters in different situations. 
  • Dialogue scenes or singing only? (Can’t remember the term for this off the top of our heads, sorry.) Will your musical contain scenes that involve ‘straight speech’ (ie: dialogue that isn’t sung/accompanied) or will the entire thing be in song? If the former, how are you going to lead into the songs in a seamless way? If the latter, how are you going to deal with those tricky little linking scenes? 
  • Keep production in mind: Where are you pitching this? Are you planning an amateur production? Think about cast sizes and logistics and practicalities and BUDGET. If your musical doesn’t work without elaborate set pieces and special effects then maybe you need to focus on the actual content so that it stands on its own two feet.
  • Beta test and collaborate: Get a bunch of your favourite theatre/music nerds and put your script on its feet. Experiment with the music and draw on the talents of your collaborators to strengthen them. A song might sound perfect in your head but when you hear it live something just doesn’t work. Don’t horde your idea and lock yourself away - go to scratch nights, put out an ad for musical test dummies, play mixtapes to your loved ones until they beg you to stop. 

Good luck!

I see that most people are disappointed with Arc V’s ending.

I’m not going to try to tell you that you’re wrong for feeling the way that you do, but I’m going to propose that you look at it from another angle.

Arc V was a story of consequence.

DM, GX, 5Ds and Zexal all had more than one antagonist. Sometimes their goals would overlap, and the actions of the lesser antagonists often inadvertently helped the Big Bad. But for the most part, all of the antags had their own goals. The end result of this was that often, the carnage caused by the lesser antags would often be reset in some way, done away with immediately so that the main characters could take on the next antag without any major baggage. 

Arc V only had two antagonists, Leo and Zarc. One of Leo’s main goals was to stop Zarc’s revival, which he viewed as inevitable. We can infer that if he had any sentience within the boys, Zarc hated Leo in turn for seeking to revive Ray. Their goals were antithetical to each other.

However, Zarc only became a truly destructive factor at the very end, for what, an hour or two in-universe time? On the other hand, Leo’s been at it for at least 10 years (we know that because of Jean Michel). And what did he do during that time?

He turned Academia into a military school churning out child soldiers. Through Jean Michel, he exacerbated the class divide in The City. He utterly destroyed Heartland. He ripped the bracelet girls away from their families, away from the people who loved and cared for them. He put the Yu boys through the wringer, enabling Zarc to influence his fragments towards each other. 

Realistically, none of the above can be easily undone. If ever.

We can assume that Academia is no longer a military school, but we can also assume that the brainwashing the students went through is still in effect; that sort of conditioning takes years to overcome. Not every student there is like Sora, or Asuka, or Serena; not all of them had the capacity to break out of the ‘soldier’ mindset on their own. 

The City was explicitly said to have gotten better after Jean Michel’s demise. But better doesn’t mean perfect, and I’m sure the divide between the classes still exists—at best, security is now more reasonable, and the class gap is now a bit smaller. 

We know that Heartland is still in ruins, and that it’s citizens are still traumatized. That sort of destruction takes generations to amend, but the legacy of the genocide will always exist. That sort of thing just never goes away.

Save for the problems of the City being a bit too easily overcome, for the most part i think that the fandom was fine with the above three. Now, for the more controversial consequences?

Serena, Rin, and Ruri are now a permanent part of Yuzu; Yuri, Yugo and Yuto are now a part of Yuya, forever. They will presumably go on to exist, and we can say that Yuya and Yuzu will both be able to communicate with their counterparts at will. But six of the eight counterparts are now without bodies.

That’s heartbreaking, when you really think about it. 

Ruri and Yuto had an entire group of friends that will never be able to see them again; Shun has lost his hometown, his sister, and his best friend, permanently. 

Yugo and Rin’s dream of rising out of Commons through their own skill, side by side, will never truly be realized. 

Serena spent her entire life confined behind Academia’s walls, and now she will live out her existence confined in Yuzu’s consciousness. And we never truly got to know Yuri, and what his aspirations were outside of ~having fun~; but him never getting a proper redemption arc is something to be mourned in and of itself. 

And that is a consequence of the war, one that cannot be undone. The counterparts merging permanently is a painful reminder that the effects of war sometimes never go away. You can interpret Serena, Ruri, Rin, Yuto, Yugo, and Yuri as casualties in the interdimensional war. And just like in the real world, people don’t just come back from the dead because you love and miss them and wish they could come back. 

I take solace in the fact that Yuya is now stronger for the presence of his counterparts. We can presume that Yuzu is as well. The six other counterparts aren’t gone, they simply… took a different form. Just as you can say the people you love never really leave you. 

Consequence. I’d count this bittersweet ending as the most profound we’ve ever gotten out of a YGO spinoff. 

thehouseofthebrave  asked:

So, what do you think about Shiro and the Black Lion?

did you want me to write a 3000 word essay about this? because i did and here it is

You know how Voltron seasons are short? like only 13 episodes? but if you add S1 and S2 together you get one standard season of television, i.e. 26 episodes - so in a way you can think of S1 and S2 as one long season, split in two. then you get an overarching ‘big bad’ for the season (Zarkon) with an overarching antagonistic storyline (Zarkon trying to retrieve the Black Lion/Voltron) that reaches a narrative low-point at the midseason (i.e. the end of S1, when we find out that Zarkon was the original Black Paladin and can still take control of the Black Lion) and builds to a climax towards the end of the season (i.e. the latter half of S2, when Zarkon becomes obsessed with retrieving the Lion, to the point of irrationality) and is then resolved in a dramatic fashion in the season finale (in 2x13, when Zarkon goes Full Extra and battles Voltron in a giant Voltron cosplay mecha suit, and Shiro steals back the black bayard and unlocks Voltron’s flaming sword to defeat Zarkon). And then the big bad of the first season (Zarkon) is left dead/out of commission - but the final scene sets up the big bad for the next season (i.e. Lotor - who, if we follow this structure, will be the main antagonist for S3 and S4).

Well… if you consider S1 and S2 as two halves of one full-length season, what you get is a strong through storyline about Shiro and the Black Lion that revolves around Shiro’s insecurities about his role as Paladin, his growing bond with the Black Lion, and their joint quest to retrieve the black bayard.

The first half of the season (S1) focuses on Shiro’s trauma and PTSD - and then the second half of the story arc (S2) reveals that the Black Lion is also traumatised by her experiences with Zarkon. She was betrayed and used and taken over and controlled - much like Shiro. Only by understanding the Black Lion’s trauma can Shiro understand her; and through this understanding, they are able to help and heal each other.

And when you consider it this way, you get a season that starts with Shiro being told his bayard - his Paladin weapon, and his symbolic and literal link with his Lion - is missing. You get a mid-season reveal that the ‘lost’ bayard is actually still with the original Black Paladin - Zarkon. And then you get the storyline’s climax and resolution, when Shiro unlocks the Black Lion’s wing powers and phases through Zarkon to retrieve the bayard. By the end of the full-length season, the initial problem posed to the characters has been solved: the bayard, once missing, has been retrieved; the Black Lion is back to full capacity, and her Paladin can access her powers and weapons using the bayard. However, and new problem is created: Shiro is missing. That becomes the jumping-off point for the next season’s narrative arc.

(more under the cut)

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actually fred had an intense god complex developing from the second major arc thats why he martyrs himself at the end of Ragtime Blues (301X) to save scrappys life unintentionally also killing daphne and freezing shaggy in the yellow slime. hes a white savior figure PLEASE stop defending him

Just rewatched Room for Ruby and it got me thinking. What the fuck is Navy’s problem?

Like, no, think about it. What she does goes counter to anything else we’ve witnessed in homeworld gems. Seeing Topaz in Stuck Together just proves my point. I’m gonna skim over all the homeworld gems we’ve met to this point, hopefully in order.

Lapis Lazuli- Arguably to first “homeworld” gem we meet, the one that shows Steven the universe is much larger than he first imagined. She’s a remnant of a bygone age, completely unaware of what homeworld has become. She has a strong heart and learns to appreciate Earth and its inhabitants, but it takes a long time for her to reach the point, a lot of starting and stopping, as she laments about in Room for Ruby.

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anonymous asked:

Weird request, but you summarize stuff. I've only caught a few episodes of Critical Role but am curious about Kima and Allura. What's the story there? Don't worry about spoilers, I'm never gonna get caught up on this show anyway, but I am curious!

Oh gosh! Okay. This actually dovetails nicely with some logistical stuff I need to figure out for reasons, so hey, here’s my really long-winded summary (and other folks, please chime in if I get something wrong, there’s a lot of ground to cover here ranging from pre-series to right up where we are now):

So, basically, Allura (human wizard) and Kima (halfling paladin of Bahamut) were part of the same adventuring party, and their exploits culminated in a big ol’ boss battle fifteen years before the start of Critical Role against an ancient red dragon named Thordak. Their party managed to seal Thordak in the Elemental Plane of Fire, but in the process three members of their party were killed (Sirus, Dohla, and Ghenn), leaving only Kima, Allura, and their elementalist friend Drake Thunderbrand standing at the end of it.

In the wake of the battle, the three of them went their separate ways, despite the romantic relationship that had developed between Kima and Allura. Allura accepted an offer to become a member of the Council of Tal’Dorei in the capital city of Emon, but Kima wasn’t exactly keen on a political position and traveled north to the holy city of Vasselheim instead, where she worked with Highbearer Vord, the leader of the Order of Bahamut. Kima mentions in early episodes of the show that she and Allura would still try to meet up every few months for drinks, but their lives were pulling them in different directions. 

Matt’s made it pretty clear that Allura still spent a lot of time thinking about Kima during those years—in his playlist he posted way back in 2015, he says of Allura: “So long as protecting the realm means protecting this one person, then all the toil and challenge is worth it.” Kima also wound up struggling a lot with her faith in the wake of all the evils she’d seen, and frequently butted heads with Highbearer Vord and the more straitlaced folks she worked with.

Fast-forward fifteen years, when Kima starts to get visions of a terrible evil brewing under the dwarven city of Kraghammer and rushes in half-cocked. Allura starts to get worried after several weeks pass with no word and hires a group of adventurers that she’s worked with in the past to go find Kima—the adventurers, of course, are Vox Machina, and this push was the impetus for the first on-stream plot arc of the show.

Vox Machina manage to get Kima out of a bad situation in the Underdark, and then they all wind up embroiled in a conflict against a particularly corrupted beholder named K’Varn, who’s managed to get his hands (eye-tentacles?) on a Horn of Orcus and is sort of chilling with his mind flayer pals as a lowkey champion of the god of undeath, which is not fantastic. VM kill K’Varn, and together with Kima (who’d been turned to stone by a basilisk, thus beginning her longstanding pattern of bad luck on missions involving VM) just barely manage to escape via teleportation circle back to Emon.

After a Weekend-at-Bernie’s-esque pub crawl with Kima still in stone form, the party finally manages to restore her, and they all head over to explain the events to Allura. Allura is delighted to see Kima again, and they have a tearful reunion. Kima does travel with VM back to Vasselheim to seal the Horn of Orcus in the Platinum Sanctuary (a temple of Bahamut), leaving Allura in Emon. VM eventually moves on to the next plot, leaving Kima in Vasselheim.

Once VM finishes dealing with the next major arc of the show, the end result is a tiny floating, spinning ball in a forgotten ziggurat under the human city of Whitestone that also happens to nullify all magic for a wide radius in its vicinity. You know, your standard everyday stuff. Completely out of their depths, they ask Allura to travel to Whitestone and check it out while they return home to Emon, a decision that possibly winds up saving her life.

Allura heads to Whitestone and brings Drake Thunderbrand on board to evaluate the situation with the orb. When some of her arcane connections with cities across Tal’Dorei start to go dark, she heads back to Emon to report in to VM at their Keep just outside the city and figure out what the heck’s going on.

She and Drake arrive to find the party in the middle of a very serious argument, on the verge of an all-out brawl, over a magical skull housing some sort of entity that claims to be able to grant any wish. Why is a wish particularly tempting right now? Oh hey, turns out four ancient chromatic dragons, the Chroma Conclave (excellent 80s band name), just attacked Emon, killed most of the Tal’Dorei Council, made a beeline for and destroyed Allura’s home, and are spreading out to destroy most bastions of civilization across the continents of Tal’Dorei and Wildmount. When VM reveals that the leader of the group was Thordak, the same dragon that Allura and Drake barely survived sealing in the Plane of Fire, Allura is in shock.

Allura and Drake head out to the ruins of the Cobalt Reserve in Westruun to try and find some information that could help them defeat the Conclave. VM eventually make their way to Vasselheim in search of allies, and are startled to discover that the city is unaware of the devastation happening across the ocean. When Kima finds out about the destruction of Emon, she’s frantic and her first thought is to find a way to get to Allura. VM manage to assure her that Allura is as safe as anyone can be right now, and Kima joins them on their disastrous journey to the sunken tomb, where they face another beholder and Kima is nearly killed by a long fall in the battle. In the aftermath, she makes her way with the party back to Whitestone, and finds out for the first time that the leader of the Conclave is indeed Thordak—the news puts her into an uncharacteristic state of panic.

While VM travels around in search of ancient weapons to help defeat the Conclave, Allura eventually turns up in Whitestone, which has become the unofficial seat of a new war council. By the time VM shows up again, having killed one member of the Conclave, Kima and Allura are both there to greet them. At this point, the two of them have moved into a house in Whitestone together (there’s a cute moment where Vex knocks on Allura’s door early in the morning and Kima answers it in a too-big nightshirt) and are helping to coordinate studies of the orb under Whitestone as well as the defense of the city itself, once it becomes clear that forces are amassing there. Kima takes out a would-be assassin who comes after them in their home (part of an elaborate rakshasa revenge plot; Gilmore pulps his assassin, it’s a whole thing).

Kima winds up accompanying VM on their mission to Draconia to kill Vorugal, a member of the Conclave, and discovers before leaving that another member of the Conclave, Raishan, has been (in disguise) in Whitestone for some time, that she knows all of their secrets and could wipe out the last form of resistance in an instant, and that the party has worked out a very shaky secret deal with her, since it turns out they all want to kill Thordak. Despite Scanlan’s attempts to modify her memory to make her forget this revelation, Kima knows about the infiltration, and agrees to move forward with the plan regardless. The party manages to kill Vorugal and return back to Whitestone, at which point Raishan’s identity is revealed, for better or worse, to the entire war council.

Kima and Allura go to Fort Daxio to help coordinate troops for a final push against Thordak, who has settled down over the city of Emon and is slowly shaping the land into some sort of super-evil volcano. As you do. At Fort Daxio, Gatekeeper Xanthas, a former ally from Emon, reveals himself to have switched allegiances to work with Thordak, and manages to cast a Feeblemind spell on Allura. VM shows up in time to take Xanthas out and reverse the effects of the spell, at which point an extremely shaken Kima and Allura have their first “on-screen” kiss.

After Thordak is defeated, and Raishan escapes an attack from VM in the immediate aftermath of the battle, Kima and Allura accompany VM to Raishan’s hideout on the Island of Viscan, which once served as the home base of long-dead necromancer Opash. After some shenanigans with gravity-reversal and a whole lot of undead bodies, the party battles Raishan, with both Allura and Kima coming very close to death in the fight. In the aftermath, the party tries to escape the island with their dead and wounded… and discovers when their first spell fails that this island has some defenses in place against transportation magic.

Allura eventually manages to put down a teleportation circle and step through, but Kima hangs back a second, telling VM that something looks off about the circle. Before anyone can decide what to do, Kima resolutely steps through after Allura, and they both vanish. Keyleth manages to scry on them and discovers that they’ve landed in open ocean somewhere, which is bad news if you happen to be in full plate armor, like Kima. Through a complete fluke of a dice-roll (natural 20 on a perception check), Keyleth manages to spot them from the beach—swimming in the wrong direction and already exhausted—and Vex shoots out after them on her broom. 

She grabs Allura, Allura grabs Kima, and bookish-wizard Allura, zero-strength-modifier Allura manages to roll a natural 20 on her strength check to hang on to Kima until they get to safety.

In the aftermath, Allura and Kima are helping to put things back in order in Emon, ensuring together that more shadowy organizations like the Clasp don’t make too much of a bid for power in the chaos. When VM heads out on their next adventure, Kima makes sure to tell them that if they see Highbearer Vord, they should just pretend they haven’t seen her; she’s staying with Allura.

so about jasper and pearl

one thing i’ve realized is, i have kind of a weakness for “neutral” relationships? by which i mean interactions that aren’t really all that positive or negative, they’re just. kinda there. neutral. sometimes awkward. one example being peridot and steven in “keeping it together” and the first half of “catch & release” (meaning before steven went all “aww cute!”), and recently, i think that’s part of why i’m now fascinated by jasper and pearl.

i realize they might seem closer to negative - they’re on opposing sides and jasper did insult pearl once, but… that was so little and non-consequential. she just brushed pearl off as unimportant, as she did with the others. their relationship isn’t directly “damaged” or uncomfortable the way jasper might be with, say, garnet and amethyst for a while. 

that’s not to say they won’t ever butt heads, but it does remind me of early steven and peridot, in terms of just being so neutral - a couple positive interactions, a couple negative ones, but overall, they don’t seem to have a strong opinion of each other. they’re just kinda experiencing the same things, from opposite sides.

their first encounter? jasper fights garnet, doesn’t really engage amethyst or pearl. pearl’s words to jasper are also less harsh than garnet or amethysts, they’re all “you need to leave! back off!” while pearl just goes “this is not a gem-controlled planet”. 

their second encounter? while one shouldn’t judge alexandrite as just the sum of her parts, she does catch and hold jasper, without hesitation. a part of her did not want to fight, or at least hoped they could solve this diplomatically. then pearl sits by jasper, not really bothered by her presence, and straight up tries to save her - not to the point of sacrificing herself, but still genuinely trying

third encounter? just kinda. staring at each other. pearl was ready to fight, but not engaging, and then jasper walks off. this was important in the early interactions between peridot and steven - neither fought the other on sight, that was the hallmark of their neutrality. 

pearl was worried about steven and connie, sure, and she definitely views jasper as a threat in that regard, but peridot and steven were also at odds. steven was trying to fight + catch peridot, and peridot did try to kill them. they still got to have neutral interactions, and steven was by far the crystal gem peridot felt most comfortable around at first. their friendship, eventually, became a close bond, and steven was naturally important in peridot’s reform arc. 

i guess what i’m saying is, i have no doubts they’ll butt heads, but their relationship also feels carefully neutral right now. pearl has been absent when jasper has been at her most stressed or aggressive. jasper has done nothing to really hurt her, despite having several opportunities to, and pearl hasn’t expressed any strong anger or dislike towards her. 

this isn’t an attempt to give jasper Good Gem Points so much as something that makes me plain curious. it feels deliberately done - jasper being at her least aggressive / most occupied with other thoughts when pearl is there. pearl, too, has shown off her capacity as a fighter only in settings where jasper isn’t there. the question of who would even win in a fight hangs over us the way it doesn’t with garnet or amethyst (coincidentally, they both lose to garnet and beat amethyst, implying they might be rather evenly matched…). 

if i’m right in my raid theory, it could also be that garnet and bismuth were the gems who forced jasper to fight “from the second” she was born, if that’s literal. in other words, another reason jasper would have the least bad blood with her than with, well, anyone. peridot and lapis included (lapis for obvious reasons, and with peridot there might be some lingering “et tu, brute?” after the literal stabbing, and the metaphorical one with joining the crystal gems).

basically pearl is the closest jasper has to a blank slate. someone she can interact with with some ease, eventually, if circumstances allow. someone she has not hurt, and who hasn’t hurt her. their histories are intertwined, they were the young knights of the war (“completely dedicated to a person and a cause”), they struggle to let go of the past and live, still holding on to their old feelings and causes. of course, pearl chose to fight in a way jasper didn’t, but differences do not negate parallels. this is something pearl is just now moving past, and it’s something jasper needs.

tl;dr: they’ve never fought or hurt each other. they haven’t exactly been nice to each other either, jasper had her rude moment and pearl expressed some worry over her just wandering around like that, but she still tried to save her… so they remain, overall, neutral. it’s hard to know whether they’re building up for them to finally fight sometime, or if they’ll bond with less hurt standing in their way, with all their parallels, similar mindsets and struggles, or a mix of both… but i feel like that neutrality has been carefully preserved enough that it’s gotta mean something.

This is all really interesting input via @faelapis and tossing in my two cents, I do think it’s interesting that official Crewniverse art tends to pair Jasper with Pearl, Peridot with Amethyst, and Lapis with Garnet on the rare cases where the whole ‘crew’ is together.

And I think I have other reasons for being interested in Jasper and Pearl, beyond this- they’re both people who initially come across as haughty and caviling of others, and this is a defense mechanism for an abysmal lack of self worth. The figure of Pink Diamond is also very interesting because it suggests Jasper much like Pearl has a problem where she is not only grieving a loss, but heavily bound, almost defined in some regards- by who they are to that person who isn’t in their life any more. Both of them are even trying to chase closure, though in Jasper’s case, her closure is doomed from the start- she’s trying to pursue Rose, who is already gone.

What intrigues me about Jasper and Pearl is how similar they are. They’re also the only two Gems we’ve seen that are proficient in a weapon besides their summoned one (I don’t count Steven as “proficient” with Rose’s sword because iirc, outside of Bismuth, the only time he’s fought with it at all has been with Connie) but Jasper is able to use the destabilizer, and she uses it like a sword, while Peridot swings it clumsily and tries to use it like a club. This would actually suggest that Jasper might well have a background in swordsmanship.

There’s also the fact that despite being such a powerhouse herself, Jasper’s fighting style exploits a surprising amount of finesse and footwork- watch her fight against Garnet in Jailbreak, especially early on with the destabilizer. I’m not the only one intrigued by the idea of a potential duel between Jasper and Pearl, but, I think it might be interesting to consider a situation where Jasper might actually, specifically, try to compete with Pearl in a field where her strength and size are largely negated.

A couple of people have rolled their eyes at the idea of retreading Back To The Barn but I doubt that’s just what that would be about. Because I really don’t think Jasper would respond and relate to Pearl in the same way Peridot did at all- they’re too alike.

We also have a very interesting thing up in the air that hasn’t been addressed yet: Pearl during the war had a reputation. She was Rose’s right hand- the “terrifying renegade”. She was the one who swept her way through six Gems, including the personal bodyguards of a Diamond, in The Answer alone. At this point, we don’t know if Jasper has heard about that history, or if she’s cottoned that this is that Pearl. 

At this point, I suspect Pearl is going to have a fairly major role in Jasper’s arc- much the way Amethyst did in Peridot’s. This means a mix of good and bad- some butting heads, certainly- but I’m with you, Felix, I think they have a lot of potential.