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I read this manga months ago, so this review is long overdue! Short review: this manga is super cute and funny and I really like it.

Okay, longer review:

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Random Question about Batman/Catwoman

Now I ship Batman/Catwoman and I'm always happy to see them getting married in a comic issue or fanfic, but a random thought just occurred to me. If Batman's rogues gallery knows that Catwoman is Selina Kyle and they know that Catwoman and Batman are in love...then what do they think when they find out that Selina's married Bruce Wayne? Do they assume that Selina's just using Bruce for his money and is carrying on an affair with Batman behind his back? Do they think that Selina's gotten over Batman? Or do some of them put two and two together and realize who Batman is?

Because out of all the fan and creator justifications for why Selina and Bruce can't just get married and raise Helena together like they did in Earth-2, I've never heard this one: "Oh, but if Selina and Bruce got married, then all of Batman's villains would know who Batman was!"

Happy Halloween!



I’m not sure if Hollywood has ever made a film or TV adaptation of Wolfram von Eschenbach’s “Parzival,” an epic written during the Middle Ages about Parsifal, one of the Knights of the Round Table. And based on what I’m about to say about it, plenty of people will probably say that Hollywood shouldn’t, because they’d botch it up. But I think that if Hollywood were to do it right, if they did try to be as faithful to the epic as possible, then it could be really awesome.

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So, I’ve reviewed the manga and Marvel adaptations of Pride and Prejudice. Now I’m going to review another comic adaptation of the book, this time by Laurence Sach and illustrated by Rajesh Nagulakonda. The graphic novel is actually formatted more like a magazine, which suits the style of the cover text.

My overall reaction? It’s…okay.

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So, last year I reviewed Marvel’s graphic novel adaptation of Pride and Prejudice. Now I will review Udon Manga’s manga version, adapted by Stacy King and illustrated by Po Tse, which – despite a few flaws – I would argue is superior. This adaptation is pretty much what Pride and Prejudice would look like if it was originally a shoujo manga, in both good and bad ways.

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Shipping Meme

Send me a ship and I will tell you:

• when or if I started shipping it.
• my thoughts:
• What makes me happy about them:
• What makes me sad about them:
• things done in art/fic that annoys me:
• things I look for in art/fic:
• Who I’d be comfortable them ending up with, if not each other:
• My happily ever after for them:
• what is their favorite non-sexual activity?


Well, since “The Legend of Korra” has ended and people are still arguing about the finale and shipping on the Internet, I guess this is as good of a time as any (even though it’s still late) to weigh in somewhat on the shipping wars (which I have mostly stayed out of). Specifically the complaint that “Makorra equals Zutara.”

I like Zuko/Katara. I do not like Mako/Korra. And, quite frankly, I’m confused about why people say that the two ships are identical or correspond to each other, whether they’re blaming Zutara shippers for the creation of the Makorra ship in the first place or saying that the Makorra ship is the reason why Zutara wouldn’t work out.

Because as far as I can see, the only similarities between the two are that the people involved are from the Fire Nation and Water Nation respectively, one can bend water while the other can bend fire, and the boy in the pairing is an older brother who can get too serious at times. That’s pretty much it.

Now, I have heard from Tahno/Korra shippers that their pairing more closely resembles Zuko/Katara from the build-up and dynamics. Tahno and Korra at first didn’t like each other, but when Tahno was humbled by the loss of his bending, he and Korra began to let go of their antagonism towards each other, similarly as to how Zuko and Katara dropped their antagonism once they realized that the two of them had something in common.

But, if anything, I think that the Zuko/Katara more closely resembles another pairing. Another pairing that I happen to ship.


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So, apparently, Disney is going to make a live-action version of Beauty and the Beast. I know that none of the folks who work at Disney are going to read this, but here are some of my wishes for the film:

  • I hope that when the Beast turns back into the prince, he will be clean-shaven.

  • I hope that Gaston will not grab Belle and forcefully kiss her like he did in the Broadway version.

  • I hope that the Beast’s past will not revolve around a past love who conveniently looks just like Belle, such as that nonsense that was in France’s recent film version of the tale. Seriously, Disney, your version of his past was fine. Just stick to that.

  • I hope that this time the Beast will have a name. I don’t even care if it’s Adam or not, just give him a name for Belle to call him by the end of the film!

And, lastly, for a not such trivial and nitpicky wish…

  • Disney. Please. For the love of God, do not turn the relationship into a celebration of Stockholm Syndrome! I don’t know what kind of writers you had for “Beauty and the Beast: The Enchanted Christmas” or “Belle’s Magical World,” but whatever you did there, do not do that here! Do you know how many times I’ve defended you when it comes to the 1991 movie? Please, make sure that Belle still has a backbone. Please, make sure that she and the Beast don’t spend the whole movie arguing with and yelling at each other. Please, make sure that when the Beast changes his attitude, it’s because he realizes that his behavior is wrong, not because Belle keeps begging him to be good. I can forgive anything that I mentioned above as long as you make sure that the romance doesn’t come off as abusive. Thank you.

I began reading Farla’s sporkings of Storm Front by Jim Butcher here: http://dragon-quill.blogspot.com/search/label/Dresden%20Files%20Storm%20Front. And a lot of her criticisms of the book got me wondering: how much depth should writers put into world-building?

J.R.R. Tolkien has been regularly hailed as a master of fantasy world-building, but should all fantasy writers aspire to his level of detail? What is the amount of detail required before the reader decides, “Okay, I’ll just roll with it,” and ignores certain holes or certain unexplored aspects of the world-building?

Because one criticism that Farla had was, in fact, a criticism of the urban fantasy genre itself. She asserted that if wizards really did exist in history, world history would be drastically different because there would be nothing keeping wizards from amassing power for themselves. When one commentator pointed out that people have genuinely believed in wizards and witches in the past and yet none of those supposed witches and wizards became world rulers, Farla countered with the point that, well, that’s because those witches and wizards weren’t real, and thus they couldn’t feasibly make a grab for power.

That actually ties in to the whole complaint about the Masquerade trope itself: the idea that if supernatural creatures were real on Earth, our history would be dramatically different. My question is that, whether or not that’s true, does it really matter if that’s not the story that the author is trying to tell?

For example, many of Hayao Miyazaki’s films feature supernatural creatures either living hidden from human beings in their own worlds or co-existing with them. Kiki, from “Kiki’s Delivery Service,” is a witch who is descended from a family of witches and she lives in the modern world. So, in the case of that movie, would it be fair to ask, “How come witches haven’t dominated the world? How come nobody really cares that Kiki is a witch? How come this is a world that has witches and yet it doesn’t look that much different from modern-day Japan?” or would that be considered nitpicking?

So, I'm not sure what the fine line is.