The Defenders of Shannara

Warning: spoilers ahead.

When I was a child, I was enamored with my parents’ bookshelves. At least, if their covers were any indication. However, many of those books were old and brittle and, in my young hands, probably would have been destroyed seven times over. So I’ve never read most of them.

As I recall, it was my mother’s fantasy books that most caught my eye. In seventh grade, I began by reading The Hobbit (borrowed from the local library, of course). This, naturally, lead to The Lord of the Rings. But there was a series of books I wondered about more than them. A trio of big, worn, black paperbacks that dominated the shelf. Their font was evocative, their covers imaginative.

The Sword of Shannara

The Elfstones of Shannara

The Wishsong of Shannara

Next to them, The First King of Shannara, The Scions, The Druid, The Elf Queen, The Talismans.

What were these books? What was this Shannara? Fresh off of Tolkien, I delved into this new land.

In a weird way, had I not just come out of The Lord of the Rings, I might have noticed more easily how Terry Brooks did a soft rewrite of the trilogy in The Sword of Shannara. I might have noticed how familiar the scenarios were, how similar the characters were, how obviously ripped off the quest was. But I didn’t. I loved it. And when The Elfstones of Shannara diverged so completely from its formulaic predecessor, I was hooked.

I’ve read every book in the Shannara saga, from the Word & Void trilogy (confirming long-held suspicions I had about the universe), to the Voyage of the Jerle Shannara, and now to The Defenders of Shannara trilogy.

And it pains me to say how disappointed I am in this most recent set.

Brooks’ writings were always grim compared to Tolkien. The protagonists often suffered severe setbacks, and without fail, some would die. Darkness was always present and often stuck closer, due to Brooks’ more contemporary writing style. You were always emotionally close to those who were suffering. The Defenders books aren’t much different, but something was missing. The preceding trilogy, The Dark Legacy, had hints of this, but it became very apparent this time around.

First, the minor details. The writing in this trilogy feels very lazy. Information is very frequently repeated. Plot and character points get drawn out over very long stretches for no particularly good reason. Very frequently, the reader is simply told how a character is impacted by events (for the rest of their life!) rather than having an action or a conversation convey it.

Because nothing says “life-changing event” like being explicitly told someone has just endured a life-changing event.

Then there’s the matter of the characters. In almost every series (with maybe the exception of the Legends duology), there’s a character I connect with. A character I care about. A character I want to see surmount the odds and succeed. Most of the time, there’s more than one. Not this time. I found I couldn’t connect with any characters. Paxon Leah is bland, and spends half his trilogy feeling more like a background character than the main focus. Leofur Rai is much the same, feeling like a Mary Sue with daddy issues, rather than a well-written character with daddy issues. Almost none of the secondary cast get particularly fleshed out either, often appearing (and then dying) in the same book.

The only character who feels particularly fleshed out is the villain, the unimaginatively named Arcannen (did he give himself that name or were his parents really weird?). And even then he is unconvincing. He feels like such a small man, with excessively big ambitions. If you took Jabba the Hutt, gave him Jedi powers, connections in the Republic government, a desire to take control of the Jedi, and put him in charge of whorehouse (full of unwilling slaves), that’s Arcannen. He never feels big, powerful, or important, except in his own mind; this makes his villainy boring and cartoonish.

None of the character arcs (what few there were) come to a satisfying conclusion either. I won’t spoil any of these details, but I came away feeling ultimately disheartened and even a little hollowed out. There are too many bad happenings and very little to lift the reader up in the end. Everything may not be awful at the conclusion, but there’s no real triumph. There’s no real bright point to feel like all the struggling was worth it.

Which brings me to the plot: go back and read the paragraph on Arcannen.

He is the primary mover of the entire trilogy. And I’m never drawn in, never convinced he’s a real threat. A nuisance, no doubt, but it feels like he’s only so dangerous because the plot demands he must be. In general, the plot just meanders about, never really going anywhere…at least nowhere that warrants such a lofty title as “The Defenders of Shannara.”

And finally there’s the matter of the gay subplot…because of course there is. And, as with most gay subplots, it adds very little to the story except to stick out really obviously. Indeed, it only exists in the third book, with characters only introduced in the third book. So there’s no build-up, no attachment. They’re just there and the reader seems to simply be expected to empathize just because. No effort is made to make the relationship relatable. It is, technically, plot-relevant, but it sucks a lot of the energy out of Paxon’s journey, a journey which already lacked energy.

I’m reminded of the show Person of Interest, which did something similar. The damaged and mildly unhinged Root flirts with the cold, unfeeling Shaw for an entire season before it ends with a lesbian kiss and Shaw’s capture. The problem is that this element adds nothing to the show. We’re supposed to care about it just because, not because it’s convincing or enamoring. Indeed, the relationship causes both characters to act completely out of character when it comes up.

While it’s no secret I’m no fan of this sort of thing, I’m also willing to accept that it exists as long as it serves the story. My mother is much the same way, yet amusingly, came up with the best solution to the PoI dilemma. It’s already established that Shaw has a personality disorder that prevents her from empathizing with others (though this is, on some level, her deeply suppressing her emotions so she doesn’t feel pain). To have her reciprocate Root while remaining basically the same otherwise, was completely out of character and confusing. Rather, what should have happened is that Root’s affection should have gone unrequited until she ultimately ends up dying towards the end of the series. Create a scenario where Shaw is forced to confront her conflicting/repressed feelings, a trauma on the level of what made her the way she was to begin with.

We already care about the characters. Now make me care about how you’re shipping them.

In Defenders, I don’t even care about the characters, so why would I care about how you’re shipping them?

In the end, I’m disappointed. Defenders of Shannara was perhaps the weakest entry in the saga. Almost every series (with the notable exception of Word & Void) has a central quest, or several concurrent ones. There are always compelling characters working together toward a common, positive goal, even when separated from each other by the entire length of the Four Lands. Defenders has none of that. It’s aimless and meandering, leaving the reader feeling like more has been lost than has been gained. My hope is the coming Fall of Shannara (I already have the first book) is a step up again, a return to some of what made Shannara great…even with the promise of the end.

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The Power of Fan Films – Part 2

I said there was going to be a second one, didn’t I?

Tie Fighter – short film

Not to be confused with the classic 90s video game of the same name, OtaKing77077’s film is a delight for the game’s fans. But not only is it an homage to the game, it is also an homage to the stylings of 80s anime. Yes, that’s right: it’s a fan made Star Wars anime. And it shows off the might of the Empire in all the right ways. Amusingly, there’s an assault transport in the thumbnail, but not in the actual movie.

I suddenly feel cheated (the assault transport is one of my favorite ship designs from Star Wars: Tie Fighter).

Kara

Kara is in a weird place for me. On the one hand, it has a few noticeable weaknesses, most notably the CGI. Given the prominence of these scenes, it can’t really be given a pass. Also, some of the plot elements (when did those stormtroopers land, why isn’t there a bigger force of Imperials attacking this Rebel base?) feel flimsy. Kara’s strength comes in from the fact that it is short and it is concise. It hits the right beats and pulls the right emotional strings to be a solid film.

Star Wars: Emergence

Strangely, Hoshino was not the only fan film to come out last year featuring a blind Jedi. Mercifully, their plots are very different. Hoshino primarily looks into the past and the “how” of her blinding; who she is today is largely left up to inference. Emergence deals with the present, and how the padawan copes with her sudden disability. This is an exemplary demonstration of the idea of “show, don’t tell” as we embark on a journey not just in the physical world, but through the Force.

It is also worth mentioning the strength of the special effects in this one as well as the original soundtrack.

Jakku: First Wave

The shortest film in my selections, this may also be the most powerful. The stories told within are all encapsulated in the first few seconds: these men are about to die. Everything about First Wave is done perfectly. The acting is solid. The stories plausible. The finer details, such as the background audio of the fighting outside, are all there. And it is all done in three and a half minutes.

The Power of Fan Films

With the release of “The Empire Strikes Back – Revisited,” I’ve been in a bit of a Star Wars mood. Given that Revisited is a fan project, my mind has lately turned to thinking about other fan projects. The fans are the biggest part of why Star Wars survived its drought years between Episode III and Episode VII.

It was not only fans watching The Clone Wars or Rebels that kept the franchise afloat, however. It was fans creating new things: new stories, new tales, new places, new characters. This zeal is what kept Star Wars alive more than anything.

Now, I want to share some of that creative brilliance with you.

Days Past

Honestly, I actually ran across this film while searching for some of my old favorites. It’s not really much of a surprise I didn’t know about it before, given it came out at the beginning of the month. But I’m glad I found it.

Days Past is a look at the relationship between a teacher and her pupil after the fall of the Republic…but it’s not what you expect. There’s not much more I can say without spoiling the plot. However, I would like to give this film credit for the quality of its set; it looks so authentic. Additionally, the character work is phenomenal, and the actors deserve a great deal of credit for bringing them to life.

DARTH MAUL: Apprentice

One of the big problems with the lightsaber duels in the Prequels is their choreography. Wait, just hear me out for a second! The problem is that the movies are overly focused on being flashy and cool, to the point where the fights are no longer convincing. Now, that’s not to say that this fan film does not do that; it does. I would like to note the one Jedi who flips into a shot for no reason whatsoever. Indeed, the entire point of the film is to be a cool, flashy lightsaber duel between a group of Jedi and Darth Maul.

But there’s something about the way it is handled that feels more…real. Not every strike is well-practiced and coordinated. There isn’t nearly as much pointless posturing between combatants. There’s even a bit of emotional pull (though nothing like Days Past). And if you don’t care about any of that…Darth Maul.

Hoshino

Something I’ve observed is that fan films tend to be much better when they’re shorter. If they go above the twenty minute mark, their quality starts to decline. I presume this is because the limitations inherent in any fan production start to catch up with them. They have all that time to fill, but only one or two writers, a limited number of crew and actors, limited special effects, limited budget…

Hence why films like Hoshino tend to be so good. The actual movie is only six minutes long, but it is so focused that it feels longer. Its characterization is splendid and it tells its tale so effectively. It has very little action…and it does not need it. The characters drive the story and that is wonderful.

TK-436: A Stormtrooper Story

Everyone loves Jedi. They have special powers and laser swords and lots of authority. But Jedi aren’t the only denizens of the galaxy, are they? There are trillions of people in Star Wars; what about their stories? TK-436 tries to tell one of those stories.

Now, I could nitpick the technical details in the special effects. Lasers aren’t always colored correctly, X-Wings flying around with their wings closed…but I would be missing the point, wouldn’t I? No, instead, I’ll just focus on the emotional tale of a stormtrooper forced to confront his past in the middle of a grim battle on a distant world.

I think I’m going to have to make another post. I didn’t talk about nearly all the fan films I wanted to…

The Music of Stormblood

Spoiler warning: Though it has been about a month since Stormblood’s release, it feels prudent to place this here….just in case someone reads it.

It actually took a long time for me to warm up to Final Fantasy XIV. It’s not that I thought the game particularly bad at the outset (around 2.1), only that it didn’t capture my imagination. It was the music that turned the game from something of a slog to a joy. Sure, I had enjoyed music in the game prior, but it was the introduction of “Tricksome” for The Wanderer’s Palace HM that triggered something in me.

This was followed by the phenomenal soundtrack for Heavensward, which prompted me to start a playlist of my favorite tracks from the game (many thanks to Mekkah Dee for these uploads). Now, with the release of Stormblood, there’s a whole new soundtrack to enjoy.

Rhalgr’s Reach

The first major settlement the player reaches after entering Gyr Abania, the Reach is the home of the Ala Mhigan Resistance. For an organization that has only met with minimal success after two decades of occupation, I must admit that the theme is far more upbeat than anticipated. On the other hand, it instills the player with hope; great change is coming to Eorzea and we are at the forefront. One cannot help but be encouraged listening to this.

Yanxia

Before we can liberate Ala Mhigo, however, we first travel east, to distant Othard, to help our longtime ally and friend Yugiri liberate the nation of Doma. A good deal of the music in the east, from Kugane to the Azim, has an exotic feel to it, clearly inspired by the cultures of the orient. However, the theme that most drew me was that of Yanxia’s nighttime theme. A slow, somber piano piece, it almost feels a more fitting theme than the normal daytime theme.  The people of Doma have lost much in the quarter century of Garlean rule, a feeling far better reflected in the night. Yet even amid the ruins of a nation, the music carries with it a hopeful air.

The Temple of the Fist

While I am skipping ahead a bit to cover this one, I prefer the final two tracks of this group where they are. The Temple of the Fist is the former home of the Fist of Rhalgr, the order to which the Monks of Ala Mhigo (and, by extension, any Monk players) belong. If there’s any word that describes this theme, it is adventurous. It’s the sort of music that belongs to a temple hidden deep in a vast wilderness, where adventurers brave many great perils to reach it and the treasures hidden inside.

Actually, leaving aside the matter of Rhalgr’s Reach just below, that is precisely what the temple is. It is a theme that carries a feeling perfectly.

The Lochs

The liberation of Doma finally brings the player back to the Ala Mhigan front, where the Eorzean Alliance takes advantage of the Empire’s divided attention to strike straight for the city itself. At the very gates, we are greeted with this militaristic theme. Looming before the gathered forces of five nations, the imposing silhouette of the most impressive city state in the realm (at least to me). After a long journey fraught with peril and hard-fought battles, the end is in sight as we fight for the future of….

Ala Mhigo

Twenty years: that’s how long the Empire has occupied this part of Eorzea. How long it has been since people like those of Little Ala Mhigo fled from the invaders. Since the Empire erected Baelsar’s Wall, hiding its deeds from the world to the west. Twenty long years since a proud people were laid low by the mightiest nation in the known world.

No longer.

Liberty or death!

What’s the Deal With Star Wars?

Rogue OneA lot of people seem to hate Rogue One. They seem to think that it’s schlock, a shameless, nostalgia-filled cash grab. These people are right, really. Disney has access to an entire franchise and to go back to the time-period from where people derive their fondest memories is transparently about money. They know the emotional pull of the original trilogy for many fans and wish to draw upon that wellspring of good will.

However, just because the detractors are right does not mean that we, the viewing public, are getting the short end. It seems foolish to fault Disney (or any company, for that matter) for trying to make money, particularly with the most lucrative franchise in history. Likewise, complaining about nostalgia when Rogue One is set literally a week before A New Hope is somewhat ridiculous. It would be like setting a movie in World War II and then complaining that it contains Panzers and Adolf Hitler. The setting means that visuals and locations are obviously going to repeat; repetition is not inherently a bad thing.

Rogue One, frankly, is a success by any reasonable standard. It’s a well-paced movie, with emotional pull and excitement. The plot is well-written, avoiding the common pitfall of getting bogged down in any one spot, and feels like a unique tale. The characters are a somewhat weak point, with the heroes, Jyn Erso and Cassian Andor, both falling short of being well-rounded. However, they’re balanced out by a superb supporting cast that has all the heart that they lack.

The movie also contains all of the elements that Star Wars fans had been clamoring for (or at least I have) since Return of the Jedi. Sure, a lot of these, from the diverse backgrounds of the main cast, a lovable (if quirky) droid, and the backdrop of a war between good and evil, are identical to the original trilogy, but that is the Star Wars formula. That is what works. It is little surprise that combining these elements competently managed to make a movie worth watching.

Honestly, Rogue One does many things right which the previous year’s The Force Awakens failed at. Bear in mind, it is a good movie. From a technical standpoint, it is good, not bogging down with a plot that’s reasonably engaging. The new characters in particular stand out; Rey, Finn, and Poe are all great people who you can connect with. The original trilogy characters are likewise allowed their moments, without really overshadowing the newcomers.

The problem is that The Force Awakens tries too hard. It is obvious that this movie is playing off of nostalgia. It has been thirty years since the Battle of Endor, but everything sort of feels the same. There are X-Wings and Tie Fighters, there are Stormtroopers, the Millennium Falcon is still flying…somehow. The movie starts with a shot of a Star Destroyer, which four previous films (III through VI) did as well. For some strange reason there’s still a Rebellion, now called the Resistance.* Each of the original cast not named “Luke Skywalker” is given a very deliberate introduction meant to tug at our memories.Old Han and Chewbacca

The worst offender in all of this is the plot. While I did say before that it was well-executed, this does not excuse it from being lifted, largely, from the plot of A New Hope. The story starts with a violent attack by the Empire/First Order, then shifts to a humble main character on a desert planet accidentally stumbling upon a destiny greater than anything they imagined. The heroes travel to a hidden Rebel/Resistance base (mercifully after a second act that is actually different from that of Episode IV) where they learn about a new superweapon that can destroy entire planets. The third act then combines the second and third acts of ANH, where the heroes infiltrate the Death Star/Starkiller while a small fighter fleet faces overwhelming odds to end the threat.

On the one hand, Star Wars did return from a ten year hiatus from theaters. Creating a movie that is familiar is not an unwise decision. On the other hand, it so blatantly copies A New Hope, it barely qualifies as a new tale at times.

For the record, I am not trying to trash The Force Awakens. I still think it was a good movie. The problem is that it had its flaws, worse flaws than Rogue One had in some instances, yet there are people out there who think that Rogue One is substantially inferior. Perhaps it is not the greatest film of all time, but a bad film it is not.

Again, Rogue One had a lot more nostalgia bait than The Force Awakens, but it belonged there. Yavin IV and the Death Star, X-Wings and AT-STs, even Grand Moff Tarkin and Mon Mothma are all in the movie because they belong there. They aren’t thrust in there purely to tickle our fancy; their presence is natural in the setting. Sure, some elements, like not-Ackbar Admiral Raddus, AT-ATs, and the last ten (really cool) minutes of the film are obvious nostalgia plays, but most of it is not, or at least is not treated as such. For that, I think Rogue One deserves to be praised, rather than be cast out and spit upon like a heretic in a Vatican conclave.

The Last JediIf anything, my chief concerns are what The Last Jedi and next year’s Han Solo spinoff will look like. My earnest hope is that Disney will try to break away from the formula. The new films will grow stale very swiftly if they continue on the course of utilizing nostalgia and lifting plot elements wholesale from previous films. Even if such story-telling is working, it will only last for so long. The amount of criticism levied at Rogue One is already evidence that nostalgia is starting to lose its effect. Ensuring a stable and enduring legacy for the future of Star Wars demands creativity, even when following certain basic structures.

With Disney at the helm, Lucasfilm has so far managed to do a surprisingly good job of reviving Star Wars. Despite its popularity, it was hurt severely by George Lucas’ missteps in creating the prequels. What remains to be seen is if Star Wars will continue to be good, or if it will, due to a dearth of true creativity, sink into being “just another franchise.”

*Yes, I know that the Resistance was formed long after the Rebellion became the New Republic, it just seems a bit off at first glance that Leia would go rogue and form Space Hezbollah** to fight Space Nazi Germany.

**I’m not commenting on the nobility of actual Hezbollah one way or another.

The Return of the Melody

Alright, so before we get into it, I ought to address the elephant in the room, namely, where this post is located.

Part of the reason I stopped posting music blogs is because I hate Blogspot. A lot. Not only is it a poor service, but I feel like it makes everything posted on it look cheap and small, regardless of quality. The problem is that I have no place else to post these things…except here.

I waffled on making posts here for a long time, though, in no small part because between me and Shannon (the other person who writes on here), we tend to post more serious, politically and culturally minded content here (when we can be bothered). And I honestly am afraid to taint Oseron Phaer with that stink, even if I take the realm of the political very seriously. I suppose no small part of it is knowing that my politics are very different from those of many of the people I know and like online and I fear alienating them, not because I am ashamed of beliefs, but because of the polarization of the culture in which we live.

But very well. I shall bite the bullet and return to sharing the music that I love…even if it’s from video games. Games have some of the most amazing music I’ve ever had the pleasure of listening to and I must share that with the world.

Final Fantasy XIV Selections

“Apologies”

Ah, Sohr Khai…like The Wanderer’s Palace HM, Sohr Khai is my second-favorite dungeon purely because of its theme. Visually, the dungeon is stunning, of course, as you battle above the clouds in a bid to prove your mettle to Hraesvelgr. The theme is what drives it home, though. With stunning piano work, sparse-but-haunting vocal work, and a fast pace that gives the dungeon momentum, “Apologies” is a theme I can listen to for hours on end without growing bored.

“Ultima”

I honestly had a lot of trouble coming up with a fifth theme for this batch (yes, I know it’s the second, I reordered it), until I remembered this gem from 2.0. Honestly, any content released prior to 2.2 tends to get overlooked by me because of how unremarkable it all feels to me. It was fun, but nothing grabbed me like it should have. Indeed, this fact tends to make me think that the Ultima theme is too good for its fight; the fight does not live up to the weight and power contained within the music. All the elements of the piece combine perfectly to create an atmosphere for a titanic struggle against a foe beyond your ken.

“Exponential Entropy”

This theme was something of a surprise when I reached the Heart of the Creator in patch 3.4. It’s not that there wasn’t precedent for a piece like this; Locus is fairly mellow, despite its harsh-ish instrumentation. But “Exponential Entropy” is a different animal entirely. There’s almost nothing about it that screams “YOU’RE FIGHTING A GIANT DEATH ROBOT.” Instead, it is a calm theme, relaxing in its repeating vocals:

“Forward and back,
And then forward and back,
And then go forward and back,
And put one foot forward.”

Some might find that annoying after a point, but the song is a well-crafted piece and the repetition serves a vitally important role in making it work.

“Out of the Labyrinth”

I’ve posted before on how I believe that the Crystal Tower storyline is one of the best homages I’ve every had the joy of experiencing. Perhaps it is because the music in it recaptures many of my favorite themes from Final Fantasy III. The theme for Syrcus Tower (which is basically the Crystal Tower dungeon from III) is a perfect example of this. It takes a very fast paced theme and turns it into a slower, more epic version which better fits the pacing of the raid.

“Revenge Twofold”

Another theme that surprised me in 3.4, the new boss theme is fantastic. I was never a big fan of “Ominous Prognostics;” something about it felt too hectic, which detracted from many boss fights. “Revenge Twofold” is nothing of the sort. Instead, the pace is slower and the instruments weightier, along with vocals that hearken back to “Imagination.” All the fights that use this theme feel like struggles, even though none of them are nearly as important as ones that came before.

Thanks for listening and I hope you’ll return for more vidya music!

Embrace the Contradictions

It’s Wednesday, and you know what that means…

wednesdays
On Wednesdays we post spoilers.

WALKING DEAD COMMENTARY!

Okay, so for everyone who didn’t wimp out after Abraham and Glenn got Lucilled in the season premiere, Congratulations!! You may sit at our table.

fab-evil
I’m offering an olive branch..that’s wrapped in barbed wire.

Episode 2, “The Well,” introduces King Ezekiel and The Kingdom, which I suppose is proof that geeks and LARPers can survive the apocalypse.

haters
Become a king. Own a tiger. Be FABULOUS.

Carol wakes up after being unconscious for a couple of days due to her injury, only to find herself in this wonderland of tranquility and goodwill. Morgan takes her to meet King Ezekiel, and she almost forgets to affect her innocent act. You can tell she’s flustered, but little Sally Sunshine soon rises to the occasion and the cookie-baking Carol who fooled the inhabitants of Alexandria is once more ready for action.

punch-face
Oh, Carol, you saucy minx. We love you.

Carol is having none of this peace and plenty, though, and she lets Morgan know that she will not be staying with this group or returning to Alexandria as he had intended.

(By this time, of course, Glenn’s brain matter is decorating the ground and Rick is all crazy-eyes and snot, because Negan broke him. The group at Alexandria could use some good news and reinforcements, but Carol knows none of this and one has to wonder if it wouldn’t just make her more determined to go it alone.) 

Morgan, meanwhile, has taken a young man under his wing at Ezekiel’s request and is teaching him the ways of the Amish Ninja. You get the impression that Morgan is withdrawing his support from the #AllLivesMatter camp and making room for the possibility that some lives will have to end to preserve other lives.

shut-up
Just in time for the Neganpocalypse

It’s good that Morgan is coming to these conclusions before returning to the group, but Carol seems to need some time in the wilderness before she finds her mental balance again. She begins cheerfully and discreetly pilfering items from the residents of the Kingdom, intending to sneak away and shun whatever remnants of civilization are left, but is caught by King Ezekiel.

problem
Your problems don’t seem so bad when you’re eating a juicy pomegranate, now do they?

Zeke is cool, tho. He lets Carol in on his little secret (that he’s not a real king and stuff… total shocker!) and offers her a solution: embrace the contradiction.

He’s well aware that his kingdom exists in stark contrast to the reality of the world around him, and he’s carrying a heavy burden for the people inside his realm, but it’s the dream that makes it all worthwhile. He suggests that Carol can leave, but not, and offers to provide her with the means to go it alone if she so chooses.

feels
Don’t leave us, bae!

What follows is a solution that everyone can live with. Carol is on her own, but not, and Morgan is free to return to Alexandria. They both manage to make an impression on Ezekiel, which is promising given the possibility (necessity?) of an alliance and trade between the Kingdom and Alexandria. I’m hoping Maggie recovers and kicks butt at Hilltop, takes over management of that place, and then they can create a triumvirate with Maggie, Rick, and Ezekiel that would challenge Negan and the Saviors.

All in all, it was a very optimistic episode, in stark contrast to the premiere. It gave me some good feels, and made me hopeful again. I loved the depiction of Negan and Ezekiel as a fan of the comics, and I’m fully on board to embrace the contradictions established by these two dynamic characters. I’m excited to see where this season goes from here!

love
I can’t quit you, The Walking Dead. 

 

If you want to be part of the conversation about this and other topics, tune in to #NerdRage tonight, 9:30/8:30 central and join us in the live chat. Osei, Ruth, and I will discuss TWD and what the new developments mean for the group. We’ll discuss that other thing I wrote about, and Ruth is working on a post about the sexism of STEM and how photos of nature help ease the triggering, or something. So much nerdery! So much rage! We’d love to see you there!