Quotes / Reconstruction

Quotes from works

"Breaking the world is easy enough. But rebuilding it, that isn't so easy."

— Kozo Fuyutsuki, Rebuild of Evangelion: 3.0 You Can (Not) Redo

"These 'no-nonsense' solutions of yours just don't hold water in a complex world of jet-powered apes and time travel."

— Superman, J.L.A. Classified #3

I know I'm not the handsome prince for whom you waited
I don't have a fancy castle, and I'm not sophisticated
A princess and an ogre, I admit, is complicated
You've never read a book like this, but fairytales should really be updated

— "Big Bright Beautiful World (Reprise)", Shrek: The Musical

"Though this irredeemable world has its continuing hatred and tragedies... this is still the place that she once tried to protect. I remember that. And I will never forget it. That's why I'll keep fighting."

— Homura Akemi, Puella Magi Madoka Magica

"Even a basic Death Trap still has the word "death" in the title."

— Scrooge McDuck, DuckTales (2017)

Quotes on works

"Survival is, like Battlefield, a clear attempt to rehabilitate a classic Doctor Who concept. It's a show that takes a classic bit of the mythos, blows the dust off and tries to figure out how that concept can work in the late eighties. In Battlefield, it was U.N.I.T. In Survival, it was the Master... It understands that the Master is driven by some ill-defined greed and lust for power, which is hardly the most nuanced of motivations, but it makes more sense than anything in The King's Demons or Time-Flight. Interestingly, this allows the show to position the Master as the logical end-point of Social Darwinism. He's a character who does all these horrible things simply because he can and very few people have the power to stop him. He's 'might makes right' writ large. Survival draws attention to how crazy and stupid the Master's schemes typically are, and the character's pathological inability to quit while he’s winning, but frames them all as part of a distinctly eighties sense of entitlement."

— Darren Mooney on Doctor Who, "Survival"

"When McCoy himself comes on board, he's presented as a relic of The '60s. He looks like he has been living in a hippy commune. He's grown a great big bushy beard and is even wearing a medallion under his open shirt. McCoy, it seems, has fully embraced counter-culture in his time away from the ship, becoming a left-over piece of the sixties Star Trek in need of an update. When Jim explains the situation to Bones, McCoy gets all existential on him, "Why is any object we don't understand always called a 'thing'?"

He's less than happy to be working for Starfleet, the establishment, again. "They drafted me," he tells Jim, calling to mind the infamous Vietnam draft, which had ended four years after the show, but six years before the film. McCoy is introduced as outdated, and out-of-touch — perhaps reflecting the franchise itself. However, we're assured that this retro vibe is purely cosmetic. Soon enough he's in uniform, his beard is shaved and his medallion is gone. Like the franchise itself, he only needed to clean up a little bit."

— Darren Mooney on Star Trek: The Motion Picture

"I mentioned in an earlier review that I've always had a massive issue with the way that the Lois and Clark romance usually plays out. Clark keeps his secret for years, blatantly lies to Lois' face on numerous occasions, finally deigns to tell her the truth after every other person on the planet already knows and, instead of stabbing him in the eye with a Kryptonite ice pick, Lois marries him. Here, the double deception is wonderfully goofy and takes away most of the pain of watching a supremely moral character deceive someone he's apparently in love with."

— Julian Finn on Smallville, "Lazarus"

"He does almost everything a bad author would do, and somehow makes it work. He makes a story full of Mary Sues. He works in numerous inexplicable time paradoxes. He makes a comic with incredibly shitty words and art (SBaHJ). All of these are things most authors would immediately discard as stupid. But because of both the scale of the situation the characters are placed within, it works. The character's sue like traits and abilities get them through non important bits, but fail them when they need them most. The paradoxes are explained via a Universe space that allows them to be such. SBaHJ is hailed as hilarious by being so intentionally awful. Hussie thought outside the box by doing idiotic things that he managed to make incredible, not to mention near unprecedented."

— Blogger flairina on Andrew Hussie

"At a time when the only way shōnen battle series would get noticed would be by adding a darker twist to it or subverting the tropes in a clever way or by being JoJo's, it was nice to see a shōnen that just went back to its roots and doing it really fucking well. Boku no Hero Academia was nothing more than a celebration of the tropes you've seen many times before, but refined to a T, demonstrating to us that you don't always need to do something overly original or off-the-cuff if you just get the basics absolutely right."

— Gigguk

"People at the time were saying "There's no point doing superheroes any more, because this has effectively destroyed them, and it's exposed them to the light of reason and they can no longer operate", but I think as symbolic ideas they remain useful, and we should try to treat them not as anything that could ever possibly be real, but as fiction and as fantasy that is designed to tell us things about ourselves."

— Grant Morrison, Superheroes: A Never Ending Battle

---