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Thinking a little about how I'd fix this issue in Discworld - how Ankh-Morpork (and Vetinari) are responsible for basically every new technological or societal development on the Disc - and, apart from making Vetinari and Vimes just less OP in the later novels, I think the most practical solution is to just not have as many books set in Ankh-Morpork. I get why they are because we're so familiar with it and it's cool to have so many cameos of characters we know and love, but it creates this issue of making AM feel like the absolute centre of the universe since all the later books except the Witches are set there and practically everything important happens there. Sir Terry himself even said that it was difficult to juggle the presence of the Watch with any other plots he wanted to happen in AM because they would naturally want to interfere and take over, so just setting more of these kinds of plots outside of AM would not only avoid that conflict but also let us see more of the Discworld in general.
I think the easiest books to separate like this would be Moist's subseries since they could happen in pretty much any larger random city (and it's more or less a coincidence where exactly Moist gets caught and "executed"). You'd need the newspaper and the golems but it'd make sense that these ideas would've spread somewhat over the Discworld by the time Going Postal is set, similar to the Clacks system. You'd lose some opportunities for cameos but you could still do some if you wanted, similar to how de Worde, Vimes and Angua still appear in Monstrous Regiment. I'd most like to set them in the largest city in Überwald, that still has some connection to Überwaldian country life but is also kind of a more modern urban hubub similar to AM but different. You could take Lady Margolotta to step in as city puppeteer and manipulator since she's already established as similarly influential and clever as Vetinari. The tone of their confrontations would obviously be a little different but I think it could still work really well and provide an interesting contrast to Vetinari's (and Vimes') thing. And obviously, Moist's revitalization of the Post Office, the banks and everything else would still have a similar influence on AM as well, even from another city, because they'd obviously want to take part in the cool new thing.
AM kind of became THE quintessential city(TM) in Discworld and I find it kind of sad that we barely got to explore any other cities in the series to highlight the similarities and differences between them.
First film: Dragons are animals, not bloodthirsty monsters
Series and short films: Teaching about the ecology of dragons
Second film: There is hope for humanity with dragons, the difference lies in coexisting with them and using them
Race to the Edge: To rescue, protect, and preserve the lives of dragons and their ecosystem
Third film: FUCK IT, FORGET EVERYTHING, HUMANS ARE HORRIBLE AND ALL DRAGONS NEED TO LIVE LOCKED UP IN ONE PLACE BECAUSE THEY DON'T KNOW HOW TO DEFEND THEMSELVES-
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As I plan to post the 16 retro style comics from the Winx Club magazine (#236-251) I'm wondering if I should just post them as is (in Italian, what I've been doing with the reboot comics so far) or go to the effort of translating them. Especially if I edit the comic panels for easy readability with the translated text, that's a lot of effort and I'm not sure if it's worth it. The stories aren't that complicated so you'd get most of the context from the art anyway. But I wanted to ask if there's a significant interest in having them translated or if the interest is more in just having the original comics themselves.
Maybe an unpopular opinion, Idk, but I don't think fictional stories are the right medium to explore and tackle topics that require systemic change to fix. It's well and good if they explore systemic issues in a way that highlights that they exist, what they influence and how people suffer under them, struggle against and/or get around them. But when it comes to portraying how to fix these issues they quickly run into one of several unfortunate tropes and messages: "nothing you do changes anything so there's no point in trying", "you just need one good(TM) dude who fixes everything for everyone else" or "you just need one singular epic event that makes everyone rethink their opinion regarding this topic and then everything's fine" or even worse "you discover that this entire issue was just the fault of one tiny group of very bad(TM) people and removing them fixes everything". It makes sense why that is because most stories focus on characters first and foremost and we want to see the main characters' actions have an important effect (otherwise, why are they the main characters?) and changes need to happen quickly enough that we can see how they play out in the story, and not only in some distant future, to make it somewhat satisfying. You can write stories about the complicated process of how major systemic changes happen but then that pretty much automatically becomes your main plot. That's not something you can realistically put into just some subplot among many and still have it properly explored. Which is why many stories like to use these shortcuts to make things easier.
And honestly, I don't even mind it that much when it's done well. Like your typical fantasy trope of putting the right king/queen on the throne and everyone living happily ever thereafter - yeah, it's not exactly realistic but given the constraints of a story that doesn't focus entirely on messy revolutions it's the most satisfying and workable option. I've seen enough people who dislike the monarchy obsession in fiction (fair!) suggest to have the new king/queen just implement a democracy and abdicate and everything'll be so much better and it just makes me cringe because it's the exact same simplification problem only even more unrealistic because it just pastes a rough modern understanding of government systems onto a random fantasy world that has probably never even heard of democracy before. There are probably scenarios where it can work but then it needs to be prepared and set up properly.
Discworld as a whole is a case where larger systemic change is tackled frequently and done well for the most part. You have a bunch of different very special characters starting most of it but then you have so many different perspectives on it and wider consequences unfolding over multiple books that it works exceptionally well. But there also comes a point where it becomes so noticeable that any major change starts from one single city and is governed over / planned out by one single individual that it starts leaving a bad taste in the mouth. It becomes too much exceptionalism and feels like the rest of the Discworld can't develop anything new or groundbreaking unless Ankh-Morpork and Vetinari do it first.
And then there are cases where it's not even done well from the start, where it's just like "we punched some bad guys and now everyone stopped being racist, yay!" Or another favourite of mine "the bad guy has a point but their way of "fixing" things is bad so we defeat them but we won't actually address the fundamental problem in any way and just hope you don't notice".
It's a really difficult topic to explore satisfyingly and write well.
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I'll take this as confirmation of my headcanon that Musa is a late riser and hates having to get up early in the morning. (Mood.)
I also love the idea of Musa already thinking about melodies and writing her songs during breakfast, either needing to take that time to function or forgetting to actually get ready over it. (Definitely not something I can relate to, nope.) Also yay for Musa drinking tea to get the day started, I'll definitely adopt that! And I need to mention: I love her pyjamas!
Of course, Musa sings in the shower, duh. (Maybe not with the hairdryer though...) I don't even mind that her towel and bedsheets all have this rose tinge, it honestly looks good in this artstyle and it fits her. Still would've preferred some strong reds but oh well.
Musa needing to rush out the door because she's constantly on the verge of being late is so charming to me. Doesn't stop her from being one of the best students anyway but she's definitely not the most organized person and often leaves stuff lying around because she's in a rush.
It's been years at this point but bear with me cause I just discovered this: I just learned that the 5th Pirates of the Carribbean movie was intended to be completely different to what we ended up with and written primarily by Terry Rossio who has been with the franchise since the 1st movie. He also dropped a version of the original script (that I read here) and damn, I can definitely say that I would have massively preferred this one over the horrible 5th movie we actually got!
I'm a huge fan of the 4th movie, personally, though I know that it's not as well liked by the majority as the previous trilogy, so I was especially delighted to see how well it picks up so many threads from that movie. Namely, Syrena and Philip's story which I love in the 4th movie and I love how it continues here. I also love the inclusion of the Spanish again and the entire plot with the new main antagonist, the Sea Widow, is wonderful and would've been so amazing to see. (Especially the reveal of her true motivation and the connection with the title is *chef's kiss*!) The purpose of the trident is so much better handled than the mess it was in the actual 5th movie and the rest of the world's lore as well as characters' actions and motivations are much more consistent with the rest of the franchise as well. I can kinda see how it might be somewhat overambitious for one single movie and I could see cutting down Gibbs' sideplot and cutting the return of some of the old Black Pearl crew to make it able to fit a single movie.
I only have one major issue with the script and that is basically the entire role and plot of Barbossa. He's my favourite character in the entire franchise and I neither like what they did with him in the actual 5th movie nor in this script. The beginning is nice enough, I like him selling Jack to the Sea Widow in exchange for her restoring his leg, that fits him and is a nice way to introduce her. (I especially love the initial fight scene between him and Jack, "You played me." - "You played me!" fits them so perfectly!) But him being "seduced" by the Sea Widow in the form of a much younger woman (and him essentially marrying her) to get him to destroy Blackbeard's sword for her is a terrible plotline. Not only because it's so gross (and promotes the sexist stereotype of women using their "feminine wiles" to control men) but also because it makes no sense lore-wise. I love the idea of the three pearls in the trident controlling the sea, the wind and the creatures of the sea respectively, but the wind pearl can't be part of Blackbeard's sword. Blackbeard's sword doesn't control the wind, it only controls ships and specifically Blackbeard's ship. I also hate the ending of Jack making Barbossa his First Mate again because I absolutely can't see Jack ever trusting Barbossa that much again, especially because Barbossa does nothing in this version of the script to make Jack trust him again (on the contrary, in fact). It just makes no sense for their characters and seems to only be done to get the parallel of another mutiny against Jack in the post credit scene.
So how to fix this?
I'd honestly change Barbossa's entire plotline in this script and I'm drawing on pretty much the only part of the 5th movie I actually somewhat liked: Giving Barbossa a daughter, Carina, that he surprisingly cares about. And I'd draw on some of Barbossa's past from the first movie.
So here's what I'd do: Barbossa genuinely falls for a woman before the time of the first movie and has a short, passionate affair with her. It might've been love but the call of the gold was stronger and he joins Jack on his search for the treasure, never to return (on account of being cursed). Carina's mother is, of course, pregnant with her but has no idea if Barbossa is alive or dead. She gets over herself and raises Carina on her own as well as she can. Post movie 4, when Barbossa becomes richer and more famous, tales of the new captain of the Queen Anne's Revenge reach Carina's ears and she sets out to get revenge on the man who left her mother behind all those years ago. (Not entirely settled on how to characterize Carina's mother yet and what happened to her in that time. Maybe she wasn't even mad at Barbossa for leaving but for leaving without her? Is that a tired twist or does that still work?)
I'm not sure on the details of the revenge plan yet but the Sea Widow might offer her a deal and/or Carina initially sends Barbossa messages pretending to be her mother. Barbossa might try to ignore them but maybe deep down a part of him does long for his old love, so he sets out to restore his leg to feel more "prepared" to face her. But instead, Carina reveals herself and that she's his daughter. Alternatively, she disguises herself and steals unto his ship in order to see "what he's like". She's a similarly clever, independent and educated woman as in the 5th movie. She enjoys seafaring but constantly has to fight against men underestimating her or leering at her for being a woman. That would connect back to her mother and her own struggle to do the same which she had to give up for a more stable and safe life in order to raise her daughter.
Maybe Carina pretends to have a curse that she asks Barbossa's help in removing and they hunt for the wind pearl together (to maybe give to the Sea Widow). In the end, though, Carina betrays Barbossa in some way, revealing that she only wanted revenge. However, when it counts, very uncharacteristically for him, Barbossa still sacrifices himself to save Carina (he makes his ship only rescue her when there's no way for both of them or gives her his sword). Carina takes up his sword and could just leave with it and the ship, but instead she returns and saves Barbossa with the ship. (Possibly Barbossa loses his leg again in the process.) Barbossa takes her in and she becomes First Mate of the Queen Anne's Revenge (which is funnily similar to Blackbeard with Angelica, I just noticed, but a way more positive version). Carina gets a similarly large hat as him and they travel the sea together. (And obviously, Jack still gets the Pearl back.)
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For some reason they only posted these for Stella and Musa (Musa's will follow in another post). I would've liked to see those of the others as well, it's a really cute idea! And it has the 2D style again which I love.
To the surprise of absolutely noone Stella's is one page longer than Musa's - because Stella definitely takes longer to get ready in the morning. I needed to google what OOTD means (outfit of the day, apparently). Does that 4th image really imply that Stella writes herself most of the messages that she gets in a day? That's kinda... uh... Love her pose when she walks out the door though. And I love her pyjama design, don't think we've seen those in the reboot series so far, they're really cute and fit her so well!
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