The M.A.N.(Militant. Anti-Nihilists): A Rant

I know what I am about to say is about to enrage an entire subculture, but I can’t help but say this because my concern for the future generations of storytellers and the current generation that will be there to educate them, and by “educate” I mean gatekeep and control creative minds that don’t genuflect to their opinions, subjective feelings, and personal taste.

Once I was a fan of RWBY, it was a webshow about a cool magitek world filled with colorful and impressively designed characters and monsters who were allusions to fairy tales, folklore, and mythology. All of which are of my forte. In this show there was also potential romantic couples who’s stories I saw greatly contributing to what I thought would be a great narrative, couples who go through hell together and make it.

Not unlike the tales of Inuyasha and Kagome, Edward Elric and Winry, Han Solo and Leia Organa/Skywalker, I think you get the idea.

But with the dark turn in RWBY V3 with the couple Arkos being built up only to be killed off, it left me with a bitter taste in my mouth because I have seen where this song and dance has gone to in the past. I tried to like it and go on, but as my suspicions proved themselves to be correct, I decided to drop the show. 

And yes, I am aware these are based on subjective feelings and personal taste and distaste. But that’s what I feel, and that’s what I think.

But honestly, I don’t resent the late creator Monty Oum, I’m sure he didn’t do this out of malice towards people of my taste. He just simply had his own way of doing things that I just disagree with.

My frustration lies with a group of Nietzsche-worshiping sycophants who initially scoffed at the show for being “for kids” but with the destruction of the characters Penny, Roman, and Pyrrha, came flocking to the work like a wake of vultures smelling a freshly deceased carcass and began lecturing, patronizing, and outright gaslighting anyone who felt alienated for whatever reason, and they seem to be from a trend that started 2011 or maybe even further back to 1987

By 1987 the comic Watchmen had made its infamous influence on comics, and then in 2011 Gen Urobuchi, aka “The Butcher”, had taken shounen anime by storm with Madoka Magica.

In those days, God help you if you subjectively disliked these kinds of stories and disagreed with The Butcher’s philosophy, and preferred stories like Sailor Moon, Inuyasha, The Dragonball series or you even liked both.

Because doing that would lead to a small but obnoxiously loud, passive-aggressive, smarmy, and overall sanctimonious minority within these fandoms to start lecturing and chastising you, and accusing you for wanting everything to be all “Sunshine and Rainbows” 

Which they mean anything thats even one shade lighter than these works they worship, saying stories with well-earned happy endings “been around so long” as if these new stories were oppressed by them before the great prophet Alan Moore came to them like Moses when the Jews were enslaved to the Egyptians.

Even condescendingly dismissing them as “Bullsh*t” as if its some kind of incantation that magically delegitimizes anything they don’t like.

And now with RWBY and the unfortunate death of Monty Oum, they now have someone to raise up as their respective Jesus Christ who’s death they elevated from a tragic death of a passionate creator to a secular Crucifixion, dying to redeem us from the original sin of well-earned happy endings.

And now RWBY and any similar stories are not allowed to be challenged, or even at least contrasted.

Say someone was unhappy with the tragic ending of Arkos, unhappy that Black Sun didn’t become canon, how the character Oscar Pine was destined to be a tragic character and unhappy with how darkness in RWBY is gone about. So they use these characters and what they like about the show as inspiration for their original characters and ships, and story only with a well-earned happy ending instead.

To these ideologues, that’s not allowed because that’s “leeching off” the original work.

Even though countless works of fiction throughout history came from “I could do something better with this”, and when you create a work of art and put it out there, it’s subject to this as well, you don’t put your art out and expect a safe-space for it.

Let me give a modern example with an indie comic, Kamen America by Timothy Lim and Mark Pellegrini of Iconic Comics

But to make a long story short, Kamen America aka Carly Vanders was inspired by Carol Danvers/Captain Marvel, in particular her early days as Warbird/Ms.Marvel and the displeasure of her current incarnation.

So the creators took what he liked about Captain Marvel and combined it with other elements such as Sailor Moon and various Tokusatsu. Which has become a huge success.

Hell, even though I’m Catholic I will play devil’s advocate and point out His Dark Materials Trilogy written by an Atheist in response to the Chronicles of Narnia series.

You could even argue Gen Urobuchi himself did the same thing with Sailor Moon when he wrote Madoka Magica, with the demonic alien Kyubei being a strong indicator of this.

This has been going on since the days of cavemen been telling stories around fires.

But the RWBY Stans think RWBY, Madoka Magica, Watchmen, and stories like them are the be-all-end-all of epic storytelling and thereby exempt from these natural forces of creativity and imagination.

Acting offended on behalf of a man who none of these ideologues had ever personally met or spoken to, nor his family, and claiming authority which they do not possess.

They want to subvert, invert, deconstruct, contrast, and challenge whatever stories they want, while simultaneously forbidding anyone else from doing so with their cherished stories.

And they also want to say whatever they want, anywhere online and at anytime without suppression, while simultaneously demanding to be allowed to censor and control voices within their own online communities,

And these two massive hypocrisies are the reasons I’ve lost my patience with this subcultures

One time I even read a post where characters like Pyrrha can only have tragic fates because

“That’s that kind of character she is” as if that was gospel.

And if there are still dissidents who have a problem with that, they should just go watch and work for Marvel, Disney, and Pureflix and never use RWBY for their inspiration unless the inspired characters suffer the same exact destiny.

In other words they want to conform new creative minds, especially indie ones, to their way of thinking or else be exiled to restrictive zones where their idols cannot be challenged.

Thereby creating a global entertainment safe-space in which to create and enjoy their taste in stories and never have to worry about dissent.

Thats why RWBY Stans also hate RWBY AU/Reimagining fan fiction as well and haven even gone after RWBY rewrites on YouTube, because they know those could evolve into original stories that challenge or contrast RWBY, which of course makes them upset.

Because they have built their whole ego and identity around their taste.

They’re basically a movement waging an ideological conquest of creativity by causing chaos on online communities and forums.

Beserk Fans, Attack on Titan Fans, Fate Fans, Hellsing Fans, and even Warhammer 40k fans as far as I know, do not have the incessant organized hatred for well-earned happy endings and anything one shade lighter than grimdark, that these fanatics among the RWBY fandom have forced onto online communities in the past few years.

These guys lecture others for being in “comfort zones” for their tastes, but they’ve made these dark stories their own “comfort zones” and worse, trying to lowkey proselytize to the next generation as religious dogma.

It’s despicable when you think about it

Beat up the people who are in the same boat as you in terms of position of power, but have differing opinions, subjective feelings, and personal tastes than you do.

Don’t allow a discussion to occur.

Demonize and exile dissidents to little idealogical ghettos where they can’t challenge you.

And be a good little consumer to big creators and companies who give you what you want, or at least do enough for you to use as propaganda.

On YouTube I’ve seen a channel called RetroBlasting cover a similar story in their video which I was inspired by, “ReproCops: The Police State of Star Wars Toy Collecting”, that covered a group of toy collecting zealots who are trying to shut down the production of 3rd-party reproduction parts for Star Wars toys.

And their behavior sounds eerily similar to RWBY Stans.

Just as Stans attack FanFiction Writers and go outside their walls into other tags and groups on social media platforms and forums, the anti-repro groups go into other forums and groups to attack other collectors, but they go even further than that and police Indiegogo and Kickstarter and report Repro-Makers on Ebay and Etsy to hurt their businesses.

So how long until these Stans follow suit?

Because now with effective indie platforms such as WebToon, Tapas, Indiegogo and Kickstarter picking up steam, I can’t help but worry that these psycho-soldiers will launch an “anti-bullshit crusade” across these platforms and try shut down any indie creators who’s style they deem “sunshine and rainbows” or “leeching off RWBY”, especially if they turn out to be disappointed RWBY fans.

All in an unachievable conquest of creativity itself.

Conan The Barbarian: From Übermensch to The Knight of The Faith.

Conan The Barbarian in both Film and Books is seen as a Nietzschean fantasy that declares that God is Dead and we must rely on ourselves. But after my own personal soul searching to strengthen my own Catholic Faith and looking up the works of Christian existentialist Soren Kierkegaard, I’ve come to see that Conan the Barbarian, weather intentional or not, is a story that starts with the philosophy of the Nietzsche but transforms with its titular protagonist to the philosophy of Kierkegaard(though its done in a morally crude manner), which then a true and authentic religion blooms. Just as God did with the primal faith of Abraham to grow and evolve into the True Religion, The True Myth, as all things he creates grow and transform under his guidance.

Experience comes first, and then from that experience is doctrine born, as experience makes sense of doctrine.

“How so?” You ask.

One simple answer, or should I say name, Crom

Crom is the chief God and supreme deity of the Conan universe worshiped by Conan’s people, The Cimmerians. Though the way he is worshiped is a lot how Soren Kierkegaard describes how one becomes a Christian, not by doctrine, but rather an experience. Soren often used examples of Abraham and Mary and finally Jesus Christ himself.

Crom rarely intervenes, taking the role of an ancient monarch. He neither wants sacrifices of animals or temples, those are for the other gods who serve him. Rather, he gives his followers a will and courage, and then they must fight in combat to feel what he feels, and then when that experience builds up to a battle with no certainty of winning, they must pray to him for courage. Then with victory, can a warrior’s newfound faith make sense of all things.

This is not too uncommon with Soren’s idea of “The Leap of Faith” which is accepting the faith outside of reason when it feels like there’s a dead end. The only thing I disagree with, is that’s where it ends. Christians, especially Catholics, Eastern Orthodox, and Mainline Protestants in general need to take a leap of faith so they can understand their religion better. Once you do, you feel God and soon everything falls into place.

The Leap of Faith is something I would call…organic

So lets now look at the film

Conan’s village and parents worship Crom through their work, blacksmithing in particular. After Thulsa Doom and his followers raid the village and slaughter Conan’s family, he is sold off as a slave. Here as we see him grow as a slave and a gladiator, he follows Nietzsche which gets him pretty far as he becomes an Übermensch. But soon the movie shows something that I myself had theorized after reading bits of Soren.

If the Übermensch and the Eternal Recurrence do exist, they are the end of the first chapter, not the end of the story. They are but a crude accumulation of natural theology.

Conan grows bored of his savage and lecherous ways and decides to hunt down the man who killed his family and as he does, he slowly starts to restrain and reserve his primal traits. Soon he makes a friend of a thief named Subotai and learns to trust, then he finds a woman named Valeria who after looting a temple of Doom’s cult learns to love(though in a way not approved in my faith), then after being essentially hired by the King to reclaim his daughter from Doom, are sen’t off to the wilderness where finally Conan meets an old wizard name Akiro and learns wisdom.

But he foolishly goes off alone again to infiltrate the gnostic-like cult that Doom leads. Here he is captured and brought before Doom where he chastises Conan for stealing from his temple, but Conan like the primitive Übermensch he is rants and berates at Thulsa for what he did to his people. Doom nonchalantly told him why, the “riddle of steel” which his interpretation is Nietzsche called “The Will To Power”, to command people around like cattle. Afterward, Conan is crucified alone on a tree where he seemingly dies and then rescued by Subotai.

The director said its God abandoning him in opposite of Jesus Christ.

But I think what the director missed is Jesus was crucified in front of a jeering mob, which is just as bad as being alone, and like Subotai, only the faithful few where mourning him, the faithful individuals who he would send to inspire a reborn faith not only to Jews, but to Gentiles which grow into some so much greater than what Israel already was, something truly special that would even touch the heart of the Roman Empire itself and carry on where it collapsed.

Anyhoo, after resurrecting Conan from the brink of death, Valeria and Subotai accompany him back to raise hell and reclaim the princess. Sadly this ends in Valeria dying, but Conan learns to hone his anger and restrain himself. He and Subotai perform a funeral pyre for her, but she burns so bright that her corpse is gone the next day without a sign of ashes.

Finally as Doom sends his henchmen to pursuit Conan and company, Conan sets traps but knows thats not guaranteed to work. So in against all odds, Conan finally prays to Crom, understanding what he wants of him, and with that, Crom intervenes by reviving Valeria who has been transformed into a Valkyrie like state, in some kind of rough allusion to a Patron Saint before she returns to the barbaric heaven of Valhalla with the words.

“Do you want to live forever?”

After this, Conan finally understands the faith of the chief God of his people, he is no longer the crude Übermensch of Nietzsche who selfishly leads and pragmatically commands.

No, he has been reborn as Soren’s Knight of Faith, which now he can not only deliver justice to his people, but save and re-inspire those Doom has lured. For now Conan knows empathy and compassion of them and those whom Doom has turned them away from.

Friendship, Love, Wisdom, Loss, Empathy, all what he needs to become the king he will become in the future.

With this virtuous nature, he finally breaks the princess from the spell, ends Doom’s life and terrible reign, and the crowds return their respective kingdoms, homes, families, and gods.

Conan than sits at the steps of the temple, contemplating what Crom wishes for him to do next, and now with a clear mind and making peace with the past, he burns the temple and reunites with his friends. Those who would join him as his subordinates as he becomes a king chosen by Crom and raises a Kingdom in his honor and glory.

When the world was lost, God start with a seed of faith in Abraham, that grew into Israel which then God sent his son Christ, from there Christ sent his disciples to Rome as Israel fell as Christ and the Book of Revelation foretold, and from that came the Church and from the Church after the fall of Rome came the glorious West we know.

Great things start as a tiny seed, and when Great grows weary, it condenses its greatness into another seed, and the process goes on and on until the Last Day.

Because Good, will always prevail no matter it be collective, or individual, because they are ultimately one and the same.

Kentaro Miura: a Eulogy

Kentaro Miura, the creator of Berserk, has passed away. Now granted, I’m not into the story. It’s just to dark and freaky for my taste. I’m just picky about darkness in general, probably acts more of a vice at times than I admit.But I still feel respect for the man, from what my friends have told me, especially one who spoke highly of him, his story is as ProfessorGeek on YouTube would call a “Cathartic Motivational” epic.

The main character Guts and his love interest Casca show you that life can be hard and dark but we can’t give into the darkness.Not this is not to say stories like Star Wars, Harry Potter, and Lord of The Rings and other epics don’t show this, of course they do, but Beserk, as I understand it, does it on a VERY extreme level, and Guts and Casca, figuratively speaking here, go through the 9 circles of Hell together. Kinda like Joseph and Mina Harker in Bram Stoker’s Dracula, if thats a good comparison, maybe it isn’t, I dunno.

But I think I still owe this man because while *I* may not be into epics like his, there are many epics I do like, which some, in anime and manga in particular, came about because their creators were inspired by Mr. Miura and if it wasn’t for him. They probably would never be inspired and I wouldn’t be able to enjoy those epics and in turn be inspired by them.

Heck, Warhammer 40k inspired my own fictional universe, PUNKS, and I have a friend who is a FERVENT 40k fan while I’m not too into it.

All art, wether it be paintings, sculptures, music, architecture, literature, plays, movies, comics all were influenced by someone. As such, that person has inspired another creator who’s work you enjoy and are even inspired by, even if you don’t like or agree with that artist’s own inspiration.

Modern Corporate Culture likes to have us think we are better than what came before us or even are some kind of correction to what came before us. But in reality that could never be further from the truth.

So I say thank you Kentaro Miura. You may not been my inspiration, but you probably were the inspiration for creators who’s work I enjoyed.

The Entitled Fan: The Frankenstein Monster of Frustration, Fandoms, and Elitism

I guess is what I consider something of a sequel of my last post “Grimmdark Cops: The OTHER Fiction Police” and its regard to another problem which is the Self-Entitled Fanboy/Fangirl

Now we all know the (Self)Entitled Fan, they think they can demand whatever they want and act nuts when they don’t get it, or at least not 100% what they had in mind. But I dare say they are somewhat better than a Stan, but thats not saying much, because they have at least a sense of autonomy and don’t just accept whatever their given, but most often like Stans they don’t have much thought put into articulating their position or want nor acknowledging the reasons why.

But speaking from my own experience as a former entitled fanboy, I don’t think the result of an entitled fan is simply lack of proper maturity.

Sometimes its rather, or perhaps also, a result of being disappointed and dissatisfied in the past with past favorite stories taking turns that they have seen done before that the individual has grown so tired and frustrated from it.

When they tried to speak their displeasure, they were often mocked, chastised, or softly lectured like a child for being unhappy because of subjective feelings and how nobody would find the stories they would like interesting, almost calling the individual a freak of sorts.

So the individual bit their tongue and continued to search for new stories that had familiar elements that the person liked, would take turns and writing choices that resonated with their taste, only to be disappointed and then lectured for openly expressing their disappointment again, and again, and again.

Finally as a result from this chronic disappointment and lack of empathy from others, and even passive aggressive pressure to change their tastes or be banished dissatisfying zones of sitcoms and kiddie shows, the individual lashes out in rage and frustration making volatile demands and threats as it seems to be the only way it to get anyone to listen to them. Which is exacerbated by apathetic loyal fans who yell and scream back while bombastically flaunting their loyalty and proclaim how they don’t let their own personal feelings get in the way, how the dissent “doesn’t get it”, and proceed to bask in self-congratulatory moral superiority.

Keep in mind, I have problems with the Joker movie in regards to its use of the Joker character, but its message isn’t wrong.

Think about that.

“Nobody thinks what it’s like to be the other guy

Nobody who seems to get their way or just accepts it as a good writing choice never bothers to think what it’s like to be the person let down and frustrated. They don’t try to see where the individual is coming from and always assumes the worst, because it’s easier to make a villain out someone who disagrees with you and look righteous than to be considerate and think before you act towards that person.

“Why don’t they used what they liked and wanted as inspiration for original material then?” You probably ask. Well as the link to my last post along with my previous points made above, there has been a growing subculture that has actively worked to discourage that. Which brings the dissident a sense of powerlessness and despair and prevent the former style and tastes from being challenged, or at the very least contrasted.

And to make it perfectly clear, I am NOT condoning the harassment or death threats of anyone, nothing is worth giving a death threat over.

I’m not saying that it should have went their way, but I am saying is if you have the patience and compassion you should understand where they are coming from rather than just dismiss their problems and acting “Ha-ha-ha! I am more mature, intelligent, and morally superior to you, uncultured subhuman swine!”, if you don’t have that grace, then maybe you should just mind your own business and go about your day

and I’m not saying the writers and companies owe the audiences everything or obligated to always do what the dislikers say. 

What I am saying is this; if these dissidents are just simply reaching out to those are also unhappy with the state of story to work out their problems and create new ideas, or just simply venting and complaining, and even making blockable tags on social media to be considerate of people who don’t like hearing it, then the only thing they are guilty of being “entitled” to is their tastes, thoughts and feelings, which they are entitled to. 

As such, the dissidents are under little to no obligation to stay silent for the convenience of those who do like the way things are, unless the latter is being insulted or personally attacked by the former. Especially when a tag is created so the loyalists don’t have to look at it.

Because the more you try to muzzle dissidents and discourage others from hearing them out, the more fuel you will add to the fire and make things worse

Telling them to shut up and telling them they are not allowed write anything that challenges them and don’t deserve to be given what they want, for almost a decade

And telling them their not allowed to express and displeasure and keep it all to themselves and not reach out to each other

Then smugly taunting them and rubbing their disappointment in their face

Do you seriously think none that could have any contribution in their emergence?

To mock people who are in anguish and frustration and tell them to shut up is no different than Murray Franklin and the rest of Gotham in the Joker Movie kicking the crap and humiliating Arthur Fleck, a mentally ill man who was going under serious personal strife and stuck with a negligent therapist who could give less a damn about him

I know we all like to think that when people lash out like this we can just put it all on the perpetrator and insist we’ve done nothing wrong and go back to our shenanigans of taunting them and say “lol haha butthurt” and “I’m loyal and righteous, they’re wrong and self-entitled, so I can act as nasty as I want to them because I have the moral high ground!”

Do I have to remind you all what happened to Murray and the rest of Gotham at the end of the Joker Movie?

*batteries not included: A flawed but delightful tale of Magic Metal Space Munchkins

During the 80s and 90s the New Hollywood Renaissance had began reaching to its height with family films, notably revolving around science fiction, families, and either aliens or robots. The most well known of these kinds of films were ET and the Short Circuit Duology. But one under-appreciated film that combines both ideas in a story takes place in New York in a run-down apartment/diner, a group of its occupants, a sinister corporation and its leg breaking toadies, and a tiny family of saucer robots who fix things and eat electricity

This is the movie *batteries not included directed by Matthew Robins, this film was his debut as a screenwriter

Taking place in East Village in New York, the owner of the apartment/diner complex, Frank Riley(played by Hume Cronyn) struggles to keep the place from being torn down by property developers whose manager Lacey(played by Michael Greene) has hired a gang a thugs led by Carlos(played by Michael Carmine) to harass and loot the place to pressure the owner and his wife Faye(played by Hume’s wife Jessica Tandy) who unfortunately suffers dementia reliving the past. Also part of the apartment is a pregnant single mother Marisa Esteval(played by Elizabeth Peña), a struggling artist Mason Baylor(played by Dennis Boutsikaris) and quiet former boxing champion Harry Noble(played by Frank McRae). After Carlos tears up the diner and chases Franks friends out and the police are unable to act without Frank risking retribution, Frank quietly begs for someone to come and help them or face the possibility of him and Faye retreating to a retirement home.

The old couple are very sympathetic, especially Frank. He actually reminds me so much of my late grandfather on my Mother’s side. Frustrated and rightfully so with the despicable behavior of young people and the callous nature of those in charge while trying to make the best with his wife’s condition. As someone who has a grandmother on his father’s side suffering from mental deterioration, this hit me deep. Faye while suffering natural mental illness, she manages to retain cognitive thought to some degree, and her sympathy and never-ending compassion for her husband, the other occupants, and the Fix-Its. By being stuck in the past, she seems to produce some timeless wisdom that isn’t seen in this day and age.

Later that night, that plea Frank made was answered

Two small saucer-bots, who are later dubbed “The Fix-Its” fly into the home and the feminine one, exhausted and low on energy, plugs herself into the kitchen to recharge. Afterwards, they find one of the broken frames from the diner and fix it and find and fix the diner as well. Faye wakes up and is greeted by them, and she allows them to make a nest in the shack on the top of the building, which Frank and the others meet the morning after.

Mr. and Mrs. Fix-it are very cute, they seem to have a somewhat animal-like behavior, something I would compare to birds. They speak through whirring servers and bizarre sounds of beeps and various pitches of what sound like power-drills and buzzsaws

Later on its revealed that Mrs. Fix-It is “pregnant” as she is having cravings. So the folks of the apartment start feeding her all sorts of metal objects and a steady flow of electricity which results in her birthing three “baby” robots. Jetsom, Flotsom, and Wheems, the last seemingly stillborn, only to be resuscitated by Harry using parts of his TV set. The robot family helps fix the apartment and in turn the occupants provide them shelter and babysit the little ones which is provided by Mason, Marisa, and Harry.

The children are even cuter than their parents, and like they’re parents they have behavior akin to birds, chicks to be specific. They don’t do too much like their parents, but they don’t need to. The babies, Wheems to be precise, have a role to play later on. As Carlos damages the father and scares away the children and burns the apartment down, the former seemly drives the family away when they are reunited, but later revealed that Wheems returns to try to fix the apartment by himself, only to be joined by his family who were actually getting help as they return with an entire fleet of their kind to rebuild the ruins. The Development company concedes defeat and merely builds around the apartment

Now the plot, there isn’t much but it mostly revolves around the humans. It’s revealed later in the story that Faye and Frank’s son had died in a car crash some time ago and Frank had some very rough words with their son before. Faye seems to mistake Carlos for his son, but it’s never clear if this denial is deliberate or not, but I assume it partially to cling on to what cognitive function she has left and even by the end of the film we don’t know if there’s some resolution.

But I can’t help but feel the real issue I have with this story is Mason as his personality is rather inconsistent when interacting with the Fix-Its. At one point he is completely flabbergasted by their ability to reproduce, then he’s quick to dismiss a tragic stillbirth from the same little robots, and soon enough he’s the babysitter of the little tykes. I just cannot help but feel Mason’s character development wasn’t thought out in terms of chronological order. Meanwhile his love story with Marisa and his search of artistic inspiration while not bad in concept, doesn’t show too much in development, it just goes along a bit too quickly.

Speaking of Marisa, the biological father of her children happens to be a musician who’s part of something I would call a modern caravan, but sadly her story in regards of her pregnancy or her quasi-deadbeat boyfriend even gets less attention than Mason and Mr. and Mrs. Riley

Carols seems like a stereotypical hooligan, but it seems more like he’s a desperate man trying to get his own decent lifestyle as he lives in the Ghettos of New York, unfortunately they only explore this once with his interaction with Faye but once again the audience seems to be left guessing on what exactly his deal is, but we at least see he has regrets as he desperately tries to save Faye from the fire that engulfs the complex.

The whole film seems enjoyable in terms of the major overarching plot and the moments with the Fix-It family, but sadly the subplots seem to me a bit sub-par. I believe the reason this is due to the overarching plot taking up too much space for the sub-plots to have the proper pacing they need.

The Fix-It family was designed by Star Wars designer Ralph Mcquarrie and The legendary Industrial Light and Magic

The Music composed by James Horner

Would I recommend this film, yes. I really do love this movie in regards to overarching plot and the adorable robots, but I would request that you don’t put too much thought into the sub-plots. For me at least they don’t seem to do get much developed and left either resolved too quickly, or left with a rather nebulous conclusion.

I give *batteries not included Seven Comedy Masks out of Ten

The Loreverse: Introduction to the Creati

“Lo and behold, you are the holy embodiment of the elements, paragons of virtue and patron lords and ladies of my worlds, as I used you to create them. As you and your servants, The Inspiri, guide the mortals bellow, they shall ascend to glory and wield powers you give unto them, made from the power which I had given unto you”-Omnibus

The Creati(Individually Creatus) are the “Top Brass” so to speak, they are the holy personifications of the elements of the Loreverse as well as the sub-creators of this multiverse. Most inspiration of them come from Tolkien’s Valar but also like them, they are not gods. Like the Valar, they can create constructs, but they lack the ability to truly create something outside the assistance of Omnibus who can breathe life into them. They are basically living instruments Omnibus uses to create and govern the Loreverse.

The realm Avalia is also a lot like Valinor, a dwelling place for both the Creati and Inspiri which they overlook the progress of the mortal realms of Lore and only intervene as subtly as possible in order not to harm the free will and autonomy of the worlds and the souls that inhabit them. This is why they were sent the Inspiri down to establish holy orders, to connect and guide these worlds in a way that is not forced or contrived. “Good things come from within not without” Omnibus had decreed “This is the way of Lore”

Now there are Eight Creati, the king and queen sharing the role of seven, “For Seven shall be the number of Luck and Balance” Omnibus had decreed “Three on one side, Three on another, and One in the middle to hold both in place, this is the way of Lore.”

Now among the Creati there is The Lore-King, Aetherius and his wife The Lore-Queen, Lumaria both serve as the leaders of the Creati and ambassadors of Omnibus, they personally ascends to Paradiso to recieve word from the mouth of Omnibus and delivers it to their peers, as well as serving as a regulator of the six other elements of the Loreverse, Fire, Water, Air, Thunder, Forest, and Shadow, with their own, Aether. As as the Monarchs of Avalia, they are blessed with Six Wings.

Now the six other Creati are Lore-Lords and Lore-Ladies, they are the Aristocracy of Avalia and each serves a unique purpose, and the seven major worlds were created in a way that in uniquely theirs along with their leader, thus the element and characteristics each world may be predominant over depending on the realm which Creatus that world is overseen by. The Lorelords and Ladies are blessed with wings of four.

Now the Creati are paragons of virtue, the highest aspirational beings next to Omnibus himself, as such they are the epitome of the Four Loves, they all are equal in amount, but each aspect is unique than the others

Storge(affection)-The Creati adore all of the Loreverse, every world, with unrelenting love. The type of love that parents have for their children, or siblings have for each other, or the love animals in a pack feel for each other. They helped Omnibus will these worlds into existence, and and grateful that Omnibus created each world in the likeness of each specific Creati, and are also admiring of each other’s worlds. And they have endless compassion for each soul upon these worlds, just as Omnibus has, and have endless affection for the Inspiri who look up to them and serve them.

Philia(Friendship)-The kinship that the Creati have with each other is the ideal friendship that is not bound by many restraints that mortal races might have, and they endless enjoy each others company and the company of others, it is this fellowship the Deo Electi are modeled after

Eros(Romance)-Now the married lives of the Creati are ones that are also ideal, they absolutely love each other selflessly, always putting their significant other before themselves, supportive in each other, as well infinite in affection in what I call the Five Types of Romance which I will go into another post. They are grateful that Omnibus created this bond between them and they celebrate it in any form possible.

Agape(Unconditional)-Collectively they are embodiment of love for every effort they make is in the intent of helping the souls living and dead find salvation and salvation for their civilizations, for they know every soul has the right to dignity and every world has the right to their full potential