#[[The narrative writing brain really said 'no this is what's happening now' and I just put the words down]]

[queer-ragnelle]

Why do you hate the Once and Future Knight? I decided not to pick up the book because of personal preference but I’d love to hear your rant on it

Hi anon!

I’m assuming you mean The Once and Future King by TH White?

There’s nothing I could say that hasn’t already been said before I’m sure. But I didn’t read the series until I had already read many other Arthurian tales and I really don’t understand the love the series gets. The negatives don’t outweigh the positives, and worse, the lasting impact of TH White’s characterization choices on subsequent retellings is a stain on the literary tradition that set us back too far to comprehend. Putting my rant below a cut because I went off and the subject matter is disgusting.

First and foremost, the bigotry is astounding. The racism, the misogyny, the ableism and every other prejudice and cruelty you can think of are staggering in their variety and magnitude. It’s vile. It’s inexcusable. I don’t read modern Arthurian retellings to be bombarded with that in every single chapter. TOAFK is not “a product of its time.” It’s a product of a deeply unhappy and hateful man. Plenty of earlier writing is vastly kinder to Palomides and Guinevere and Morgause and Mordred and Lancelot or any other character unlucky enough to be depicted by TH White. Literally the Medieval source material is more nuanced than that. Morgause get behind me.

Secondly, the anachronism is an annoying stylistic choice at best and yet another tool for bigotry at worst. Why are Mordred and Agravaine likened to Nazis? Like seriously what the hell? It’s not enough for them to be antagonists, the text has to invoke the Holocaust? It’s so extreme it rips the reader right out of the story and calls to mind the most horrific parts of history for no narrative benefit whatsoever. Baffling and bad.

Thirdly, the prose just kinda sucks. It’s rambling and TH White will pause the narrative to stand on a soap box to talk at the reader about his views. He’s anti-war. Fine. But of all characters to use as a mouthpiece—King Arthur? The warlord King Arthur? Make it make sense.

Fourth, most tragically of all, so much of what TH White did in his series is reflected in stories told to this day. Every other retelling has a cover quote comparing it to TOAFK. (It’s supposed to be a compliment!) To put it in perspective…

You ever read a retelling with evil neglectful parent and rapist Morgause/Morgan? TH White’s fault.

How about added incest between one of the Orkney bros and their mother (which sometimes results in someone other than Gaheris killing her, say, Agravaine or Mordred)? Thanks, TH White, that’s just what Arthurian Legend was missing, more incest.

Ever see disabled, crippled, bad seed Mordred? TH White started that trend.

What about Guinevere assaulting Lancelot when she learns about Elaine getting him drunk and raping him? TH White really said “Lol what if Guinevere hits Lancelot and spits in his face while he’s crying?”

And the racism! TH White walked so Thomas Berger could run (derogatory). Discussions of race are so intense and so frequent and so random like one minute the narrator has paused the plot to talk about how war is bad and now it’s slandering Native Americans? Brother this is Medieval England what is even happening right now? Oh, look, another N bomb. The antisemitism! Weren’t you just comparing Mordred to Hitler? What do you mean the Orcadian/Scottish characters are evil because of *checks notes* “the incalculable miasma which is the leading feature of the Gaelic brain?” [Queen of Air and Darkness chapter 5] Thanks TH White for stripping Lot, Morgause, Gawain, Agravaine, Gaheris, Gareth, and Mordred of all nuance, a condition from which they have, literally, never recovered. Of course there are some retellings since that write one or two of them with a crumb of nuance, but they’ll never be like they were in the Vulgate. Not all at the same time. I feel sick.

It goes on and on. I have to stop listing examples or I’ll get pissed off. But frankly, more people should be pissed off about it! I’m tired of seeing five star reviews on storygraph and goodreads accompanied by a review excusing the most bigoted garbage I have ever read in a children’s book. It’s vile and everyone should feel bad about defending it. It’s inexcusable. This wasn’t a case of good-intentioned inclusion with dated language, this was an author going out of his way to be hateful. Period.

Big names in the fantasy book community like Daniel Greene should not be awarding five stars and leaving an uncritical review.

Far too many readers acknowledge the racism and then rate it five stars anyway. Go to Hell, Spencer.

Here’s some from storygraph with, of course, praise for Marion Zimmer-Bradley’s pedophilic power fantasy Mists of Avalon, another piece of hot festering sludge everyone should stop talking about. Kill the legacy already. The real life victims have suffered enough.

There also seems to be a trend in these reviews that excuse the texts bigotry by referring to how “old” it is. Which is crazy to me for many reasons. TOAFK in its final form was published in 1958. That wasn’t that long ago. Also racism has always been racism, misogyny has always been misogyny, ableism has ways been ableism. Plenty of authors came before this and really make TH White look like a clown.

Let’s promote them. In reverse!

John Steinbeck wrote The Acts of King Arthur and His Noble Knights in 1956 (published posthumously in the 70s, don’t go by that date). His depictions of Morgan and Guinevere are nuanced and fascinating, not to mention some original characters including an old granny who teaches Owain to be a warrior! This book also has a morally gray sun-powered Gawain without insulting his heritage, an emotional and thought-provoking Lancelot without marking his sin with a facial deformity, and a really sweet Marhalt who doesn’t often get much spotlight!

John Erskine wrote Restoring Palamede in 1932. He does exactly what the cover says, and writes a story about the Muslim knight Palomides beginning in his own country, living with his parents whom are both named, and follows him as he learns the ways of the world and finds an ally in his friend Brangaine! Tristan and Isolde are compelling here and while Tristan can still be a jerk to Palomides, it’s not the mask-off bigotry we’ve seen…elsewhere.

Howard Pyle wrote one, two, three, four books between 1903-1910. Two thumbs up from me. No notes. He drank his respect women juice, drew them with loving care, named so many previously unknown, and gave them voices. He was kind in his portrayal to Palomides and even some other knights of color from India. Morgause survives the narrative! We love to see it!!!

Henry Newbolt wrote Mordred: A Tragedy in 1895. A fascinating examination of family ties, all five Orkney brothers here AND their wives Lyonors, Lynette, and Laurel! (Minus Ragnelle bc life is unfair.) Guinevere and Lancelot are tragic and heart wrenching. Arthur struggles against his son Mordred and their destiny in a way that doesn’t outright demonize either side. It will rewire your brain.

Richard Hovey wrote his poetry between 1891-1900. A complex and interesting Guinevere and Elaine who are not enemies, Lancelot close with Galehaut during the war, destroyed by his torn loyalties between Arthur and Guinevere, Gawain who loves his friend Lancelot with all his heart, and so much more without tearing anyone down!

Oscar Fay Adams wrote his poetry between 1886-1906. Here we get a wide variety of character focus, with title-featured names from King Lot to Dagonet to Lamorak to Lionel. Each one is more fascinating and nuanced and fresh than the last, from a tour of Lot’s castle and meeting each inhabitant to Lamorak on Grail Quest learning to forgive himself from “sweet” Sagramore.

William Morris wrote his poetry between 1856-1910. All of it is on the Camelot Project but I also have this scanned book. Here we delve into Guinevere’s trial as she calls out those who have wronged her, lonely Galahad on Grail Quest relating to his father Lancelot and praising Palomides in his steadfast hunt of the Questing Beast, there’s even a poem named for Palomides himself!!!

Anonymous wrote Moriaen in the 13th century. It follows Aglovale’s illegitimate son Moriaen, who is of African descent. As he travels around Britain looking for his father, Moriaen meets many people who are afraid of his dark skin. BUT! All the Knights of the Round Table leap to his defense, even threatening townsfolk who try to demonize Moriaen for the way he looks and refuse him service. It is, essentially, an anti-racism story from the Medieval era. Not to mention healer Gawain’s care and attention given to the sick and disabled. That’s not even the moral/focus of the story so much as Moriaen’s journey, but it’s there and worth mentioning.

So here we are with a whole list of stuff to read that predates TOAFK and surpasses it. The last one is only sort of a joke. But it’s there to make a point about how inexcusable TH White’s racism really is. If Anonymous could give a black knight like Moriaen the narrative respect he’s entitled to for existing as a representation of real human beings that look like him, then TH White was capable of it too. Progress is not linear. This is not to say Medieval times were “better” than society today. But to write off any problematic story of the recent past as “a product of its time” as an excuse to make oneself feel better about liking it, well, I don’t know what to say. Maybe reflect on that. And while that marinates, read something else.

[forgotten-contract]

Voidtouched-blue--[Prior]

Between the violent evil she had unleashed upon herself, and the overwhelming torture it provided, she could not hold it back any longer. Her claws were gentle as they gripped the cloth of the blanket. She wouldn't admit it, nor would she truly react to it the way she would have liked, but the wounded child within her wanted to reach out for comfort. Physical touch was a forbidden sensation, but oh the relief it would have given her if it didn't trigger involuntary fury. No matter how much she wanted it, she could not- would not reach out for it. "I'm sorry...I'm so sorry...." She cried as she lowered her gaze, softly closing her eyes as the burden of emotion mixed with the pain of her injuries. She had relaxed most of her limbs, but still kept herself curled up against the firmness of the bed behind her. Hanging her head, her fresh horns nearly touching the blood-soaked leather that covered her knees. She just wanted to disappear.

Her cowed apologies dimmed the smile, unspoken sorrow slipping through despite the clawing demands of that comfortable apathy; Recognition, not pity. Empathy coiling in his chest ached as every part of his own instincts of preservation begged to leave. To let her wallow in this self-made hell, each second he watched the way her body sagged with that weight. It was almost palpable, the way the pain and the grief, the self-hatred, and the guilt hung thick in the air around her. The weight of her sins and her burdens. And he couldn't bear to see it, couldn't stand it. A stained mirror of violence, of isolation. Of a lifetime wrought in iron. Silvaire’s visage began to slip back to that impassive defense as he tried to keep his emotions in check, his own body wanting to run. But his buried heart screamed louder. His fingers twitched against the cold tile as he fought with himself. To stay or to leave. It would be so easy to simply get up and allow this frail little creature to come to her own in time, but then he'd never know. It was a stipulation of the Contract. Of course. And then what? Would he be here to calm the torment each time?

To keep his Contract as his alone? It was the instinct deep within that forced him to move. That made him lean forward - that entombed whisper of what he would have needed if someone had been there - a single hand reaching out to gently touch her arm, the contact so soft he barely felt it, and yet so electric he flinched away in an instant. The moment his hand made contact with her, the shock and the sudden realization of what had happened came like a wave. His breath caught in his throat, and those gilded eyes widened slightly, and even through the thick fabric of her sleeve, her skin felt so warm. He could feel the way she shivered under his touch, her muscles tightening. The smell of her blood was overwhelming, and it made him recoil his hand as quickly as it had touched her. His mind was reeling, and for a split second, his expression was that of a man who was pained. A man who had just witnessed a terrible crime, his cold heart hammering so loud in his ears that the world felt so far away.

Even if his touch was as soft as a feather, it was still a physical interaction. It was such a foreign feeling. A forgotten one. A terror all in itself. It was only a moment and he could feel the tremor in the small woman - he couldn’t recognize it as a positive or negative - but his silence was thick as the Elezen moved away, looking to the way the ichor soaked into his fingertips. The faint scent of that metallic stain in the air as it seeped into the wound threatened that temporary kindness. Silvaire's heart clenched painfully as a deep, dark part of his mind hissed in disgust. A hand still trembling faintly as it lingered in the air before falling to his lap. He shook his head as he tried to steady himself, a shuddering breath escaping him as he closed his eyes.

She didn’t need his help. The man needed to understand that. To hold her to the agreement. A few seconds passed before he finally spoke to the unquestioned, a voice so quiet and so distant. A tone as soft as velvet - as if he didn’t realize he was speaking aloud. "I know it hurts, more than you could imagine." Silvaire took a deep breath before he stood to give distance, trying to calm the storm brewing within him, and the tempest raging within her. The voidsent felt the leash of his control tightening again as he stepped away. As if her very presence reminded him of a life buried. Dark nails clenched tightly into a stained palm, the blood drying to his hand as he turned away from her. His face once more blank and cold, voice a quiet tempo as his words came slowly. "Let’s... get you cleaned." He stepped towards the room’s adjoining bathroom before turning to look at her, watching for a moment how small she looked, a speck of marred blue in the midst a sea of poppies, the words of the forgotten drifting to his mind;

We are the Dead. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie-

The thought was pushed down as idle fingers tapped against the stained warmth that covered his clothes, speaking again into the blanketed quiet that ever filled his domain. "Come, it will ease the pain of the wounds, and we can speak further about the situation then. The longer you wait, the longer you'll suffer." He paused, his expression softened a fraction, the hardness of his eyes lightening to a gentler hue. "I promise your comfort and privacy.”

[luna-rainbow]

I liked the Russo bros until I heard an interview with them made about 4-5 years ago (just after Endgame I think) where they elaborated on why Bucky didn't get the shield.

It made me really mad how flippant they were about Bucky's "mind being damaged" and then started joking about him being crazy and dangerous. They even said at one point that he was "corrupted".

Just the amount of ableism was horrific. Mental health issues and brain damage do not arise from or make a person morally corrupt.

I get that Bucky would not have wanted the shield before the HYDRA programming was removed (which it had been by that point) but seriously? Also, why should having trauma or mental health issues disqualify someone from being Captain America?

Ah yes, the good ole ableism.

Much of the MCU is incredibly ableist. I think the modern world, despite all our efforts, still segregates disabled people from view. A lot of writers, especially if they come from comfortable upper/middle-class families and smooth-sailed through college, would never have had much interaction with a visibly disabled person as a fellow human.

Mental health is an invisible disability and still often seen as a weakness of the will. I think this is part of the disdain for Bucky and this weird push in TFATWS to write him into a Generic Dude. This is why Zemo says “there’s never been another Steve Rogers” because Bucky’s mind did break, and it broke because (the writers) see him as weak-willed and deficient, rather than because…withstanding 70 years of torture is something none of us can fathom.

I can’t find the post from a while ago (Tumblr being Tumblr) but someone wrote an essay about disabled characters in the MCU and the fact that disability is used as a narrative tool to signal a punishment for moral deficiency. And their (unnatural) regaining of their abilities as a nod to them recognising the error of their ways. The example they used was Rhodes, who was “punished” by becoming paraplegic then regaining his walking when he reconciled with the rest of the Avengers. (Civil War being what it was, I’m genuinely not sure that the writers felt Steve was the correct side, but anyhow)

But this theory is particularly true in how Bucky is written and what each generation of writers have said about him. The arm, once bearing the insignia of wings and now bearing the red star, was a visible symbol of what happens to his mind — a soldier’s failure, having his identity and loyalty ripped from him, and another new, deadlier identity transplanted against his will. But a failure nonetheless, because a real hero wouldn’t have fallen. And this is why in Civil War, the arm needed to be forcibly taken from him, because it was a mark of his identity as the Winter Soldier and of his crimes against a hero’s family. The arm is then given to him in Infinity War as an opportunity for atonement, to fight for the “greater good” (as if fighting against Nazis wasn’t right there in his history). And he is reminded in TFATWS it can be taken away at any time if he misbehaves, that no matter how hard he works that original flaw will always hang over him and any minor mistake needs to be punished to bring him back in line (a point reinforced by Sam’s constant jibing at his time as a prisoner).

And then people wonder why Bucky fans are pissed off about the gross ableism.

[nekropsii]

Also that June post sucked I wrote it on sleep meds at like 6 in the morning I articulated myself like shit. Not an excuse, but it is an explanation.

Further rambling under the cut.

I was trying to make the point that it’s deeply frustrating to me how much of a big deal was made out of it (in a negative sense) and how much harassment ensued especially right in the moment when nothing had even really happened yet and still hasn’t really happened but I said that Badly.

The JKR comparison was not a statement of there being any bigotry present, it’s just literally the only example most people - me included - can think of when talking about an author confirming some kind diversity before it even happens, if we see it at all. I’ll admit part of why I’m so cynical is that I grew up in an era where queerphobic jokes and queerbait were just about the only thing you could get in mainstream media, and everyone would still tout that as if it’s real representation, so I’m always prepared for people to just be lying to me.

So, I see that June gets confirmed in 2019 because someone won a treasure hunt, and we still haven’t really seen her, and I’m just instinctively deeply skeptical it’s even gonna happen. Especially considering we got that fuckin’ Roxy Detransition arc first.

Another sticky point is the canonicity of Postcanon, period. I do not see any works outside of Homestuck proper to be canon, especially not in the way that Homestuck itself is canon. I’ve said this several times on my blog and didn’t feel it worth reiterating but it’s kind of important, especially given the JKR comparison. I think June is awesome, it’s a really cool progression of her character, especially considering Homestuck was once pop culture and she’s the literal main character. But part of why I kept saying it was “literally nothing” was because I was operating under the mindset of “it’s not even canon anyway, why are you harassing people for being excited about it?”. It’s stupid to act like a character or person coming out as trans ruins everything for you in general, but it was especially stupid to me for this to be such a federal fucking issue when basically all we had to go off of at the time was a Tweet, especially in a fandom that proclaims itself to be so progressive, and especially when so many people who were denouncing June as being “not real” due to being in Postcanon got so excited when Roxy was turned into a trans dude. It’s just stupid and unfair and transparent, and I hate it.

The Junecourse situation was super fucking messy and really hard to navigate, and it frustrated me a lot because a lot of people were being kind of silly or even just outright bigoted. It was strange that people got so mad about it, it was strange that some people acted like June was a real person, it was strange that people got badly harassed no matter what they did or said. It was stressful and weird, and it was dumb to me that all that warring and all those lies were circling around a tweet, for the most part, and plenty are still operating under the simple tweet confirmation.

I should acknowledge that there’s apparently more than just the lone tweet now. I’m sure I’ve seen all that before, but I’ve got pretty bad memory issues and, again, I was writing it at 6 am on sleep meds, so it genuinely spaced my brain. That is completely on me and I apologize for contributing to false narratives. The post’s been deleted. I’m not asking for forgiveness or anything, I’m just explaining myself. It was a bad post, but I wasn’t making it out of malice, though I do recognize that in situations like this, intent doesn’t matter nearly as much as actions and impact does. That was a failure on my part. I’ve since deleted it.

I’m apologizing here not because there’s a fire being lit under me or anything - I’m not being pressured - but because this is a genuinely important issue to me. Sadly, I am merely an ally and still in the active process of reading theory, so I lack the general polish one acquires from lived experience and actual real learnedness. Transmisogyny is not a reality I have to live with every waking moment of my life, and as a TME man it is a systemic force that works directly in my favor, so I’m liable to accidentally perpetuate it, even if it’s something I do not believe in personally and am making strides to, for lack of a better, less cringe-inducing term, “be a better ally” about.

TLDR; I fucked up and made a sloppy post that contributed to false narratives surrounding a confirmed Transfem character and the discussion of her online. It sat around 77 notes as of deleting, though most were thankfully just likes rather than there being a whole lot of spread. Still sucks, though, and I’m sorry.

Thank you for reading.

[areiphilos]

it’s kind of a shock to me dal/pony’s never been a big ship in the fandom (tho rn i can understand why ppl are not quick to ship charas who frequently refer to e/o as brothers — musical) when they’re both well-defined as indiv charas and share lots of moments together on paper and on screen (many of which worth mulling over) and can fit into the tropes many ppl clearly enjoy in their ships! (for instance making pony love drawing curly or steve…)

there are a couple of things that prevents it from being a big ship:

a lot of people are young, it's their first fandom, and they get scared off by the age gap. when you're older or at least have more fandom experience, it's not as big of a deal. a lot of younger people currently treat it like it's like a ten year old and a twenty-five year old which is just not correct. and a lot of newer people are really puritan brained in a way that is a bit disturbing. there was a little bit of dalpony on ff.net but ff.net is very hard to navigate and almost all of those fics were varying levels of ooc. (and i ate it up anyway)

i want to be nice but there's really no nice way to put it: a lot of jally shippers are extremely possessive over their ship and over dallas. jally is treated as the de facto ship of the fandom and dalpony isn't like tim/dallas or johnny/pony — pony is instantly pegged as direct competition to johnny and it makes a lot of jally people angry. i think what makes them angriest is that it de-centers johnny from dallas' narrative in their eyes and it subverts the line they always cite from the novel that is very jally. they tend to act very entitled over jally being the "default" ship and a lot of them get loud and aggressive over the existence of dalpony in general so that's stopped a lot of people. (there's also the fact that a lot of jally fans are johnny fans more than they are dallas fans so a lot of them perceive dallas as a prize for johnny rather than his own separate human being)

a lot of people in fandom, again bc it's first fandom and there's a young skewage, can't write in character for shit to be blunt. so a lot of ships where it involves a developed character shipped with an undeveloped or totally non-present character appeals to them cause they can just self insert or because they can just write whatever and not be held up to the same standards. you can do almost anything with curly and not have to check back to canon at all about him cause curly doesn't ever appear until that was then, this is now and he's not significant. most of purly is "dalpony with training wheels" for me with how it's written and more than one dalpony person has said to me they used to be into purly and switched or became a multishipper.

the musical and the proliferation of "they're brothers! you can't ship them!" that's going through fandom right now is stifling a lot of shipping. i've seen the musical via a bootleg, it's the most out of character version of canon and it's the most de-queered version of canon to come up. people, as a consequence, are buying hard into "platonic only!" versions of canon to the point that there wasn't even a surge of jally after the musical. if jally can't even make it, dalpony won't. (and they had a nugget of dalpony in there)

some other things is that people tend to move on from this fandom within months of each other or they're here for a long time but stick into one lane or there's lots of breaks between. so there's not a whole lot of consistency in presence, either. i think i'm the only dalpony who's been here the longest with the most influence (i hate dallyboy as a name so i picked dalpony and here we are using it!) and the most fanworks vs. people who've simply drifted away, been bullied out of shipping it (happens often, unfortunately, even though i try to support as many people as i can while maintaining boundaries), or go to other pastures. (though i will say some major shipfics haven't been going on as long or consistently as say fits even for other ships. i think the last major jally fic that was completed was 2019.)

[justatalkingface]

Everything Changed When The War Arc Attacked:

Or, why do I hate the War Arc so fucking much?

At this point, eh, why not? Writing every day is supposed to be good for improving as a writer.

ECWTWAA is a simple, quippy line that holds all of my festering loathing for watching MHA gleefully hurl itself off a cliff once the War Arc happened, and, much like someone jumping off a cliff like an utter moron (or the Air Nomads after the Fire Nation attacked), it has never truly recovered.

*sigh*

In retrospect, MHA had been going downhill for a long time before that point, and a lot of it was something I noticed unconsciously, but didn't quite rise to me really paying conscious attention to it, beyond a few notable points (*cough*, Bakugou, *cough* FuCkiNg NIGHTEYE), but as my brain was somewhat in the off position as I read, I was still enjoying the ride, even as it bumped; the enjoyment was as much, if not more, that I used to enjoy it more than the actual content, but there was enjoyment.

If MHA before The War Arc was a somewhat imperfect roller coaster ride, the only way I can describe the War Arc is if the roller coaster ride abruptly ended in the side of a cliff, only somehow dragged out for months of slow paced agony. I watched, in vaguely real time, as Hori systematically trashed the last foundations of his story, the swan song of one of the best, most interesting characters in the series, toss aside the sudden yet exciting development of it's main villain, and escalate to a higher gear than ever before the constant work to protect some of the most vile characters, including said mass murdering villain, from even the slightest criticism by sacrificing everyone around them, as well as the very integrity of the story, to the alter of, 'They're not that bad, honest! Don't hurt their little feelings, you bully!'

And, I watched him finally finish the lobotomy on his main character, permanently ripping away what remained of his original personality and intelligence, leaving an empty puppet, a Deku, with the singular purpose of driving the story faster, and faster, and faster towards that thing that Hori seems to crave above everything else now: The End.

Freedom, freedom from the strangling chains of a merciless Jump schedule, of a plot long grown too complex for him to manage, or for him to even want to try, and from the burden of writing characters and stories he so clearly seems to despise, for some reason. And if they only way he feels he can get it is by burning everything he's done down to the ground, well, Hori's clearly more than willing.

In all honesty it became obvious that, in all of MHA, he only actually liked six things: Endeavour, Bakugou, body horror, dramatic, flashy fight scenes with flashy super powers, attractive women in minimal clothing and vaguely fetish-y torture scenes on attractive women in minimal clothing.

These things, from that point on, are the only things he has spent real, actual time on, developing, giving focus to. Everything else, everything else, is rushed, pushed constantly forward by Deku, the puppet, as he runs from plot point to plot point as fast as he can, never allowed a moment to rest, to reflect, to really think at all, all in the name of progression as empty as he has become.

In all honesty, it was a needed, if unwanted, shock to help me realize the truth, but at what cost? At what cost is this clarity? The joy is gone now; once I dropped my unconscious acceptance of the narrative, everything I had been ignoring came to me a rush of horrified realization, even the most mild of flaws became glaring, and now reading the early chapters that got me into this story in the first place is just... hollow now, like I'm watching my old self enjoy them, rather than enjoying them myself, and I can't help but be both jealous and vaguely contemptuous at the innocent pleasure that person had.

I'll admit, I'm being more dramatic than I'd like to be, but... I've said this before, I'd been reading MHA for years before this point. Years of enjoyment, interest, and focus, and it's all ash to me now. I'm somewhat bitter about it.

[aihoshiino]

An ONK question that's been on my mind a lot is that what does ch109 serves to the character of Kamiki. The chapter felt out of place to me when it came out, because it's a (supposed) murder and no at all tied to the entertainment industry. It's criminal activity with no nuance. Many read this as an implication that Kamiki has been killing people left right and center and Ai was one of his victims. But... Now I wonder if this is a retcon of some kind. Yura's death was mentioned once (1) after the chapter and I kept wondering how the heck is it possible for Kamiki, a pretty high profile guy in the industry, to be going around killing other high profile people without anyone noticing. It also doesn't feel like the current ONK plot is leaning towards "Kamiki is a psychopath murderer". Don't get me wrong, I like what we know about Kamiki now and how his past shaped him. It feels more in line with the theme of ONK. It's just hard for me to forget that a woman died on screen! I want to know your thoughts on how this might play out / tie into his character? Your character analysis are always on point & your HKAI posts helped me processed a lot of the 15YL plotline.

NGL at this point I really don't know what to make of it LOL. Back when I was first trying to figure out what was going on with Kamiki, I revisited that chapter and actually came away feeling pretty certain that he hadn't actually killed Yura and the presentation there was a red herring to make him seem more actively villainous to the reader and mislead us as to what his intentions were.

Part of this was because we had gotten the reveal of his victimisation at Airi's hands shortly before this chapter (just shy of 10 chapters before, iirc?) and that reveal combined with Akane's revolted horror in reaction to putting those pieces together had me pretty sure we were heading towards a place of Kamiki being portrayed as sympathetic and someone to emphasize with. Thus, it would be weirdly incongruous with that setup for him to also be a yandere serial killer who was wandering around sniping sparkly actresses.

The other (and tbh, probably more influential in hindsight) factor was that we don't actually see Kamiki killing her. The chapter being set up to make him so overtly suspicious while refusing to show him actually committing murder ironically made me less inclined to think he was responsible for Yura's death. The way I interact with murder mysteries and also just like, fiction in general is pretty much entirely filtered through the ways Umineko specifically and When They Cry as a whole warped my brain and the way 109 was presented read to me exactly like the sort of narrative trick R07 would have used to make a character look suspicious of something they didn't actually do.

Now though… I really dunno lol. Like you said, it feels out of place - not just in Kamiki's arc but in the story as a whole. My best guess is that Akasaka maybe did originally intend to write Kamiki as a serial killer targeting women who would surpass Ai but in the process of actually putting his arc to paper, he evolved into a different character for whom that kind of arc wouldn't make sense. Which I actually prefer! The Kamiki we get in the manga feels a lot more nuanced and human to me compared to the yandere Light Yagami serial killer mastermind people were making up in their heads. But it also means that Yura's death is this weird snarl that I don't think Akasaka knows how to reconcile.

Actually - literally as I was writing that I suddenly realised, this might be why Nino suddenly came out of nowhere and started being written like she was? Akasaka has said in the past that he's had OnK's ending in his head for a really long time and I can't help but wonder now if part of that ending involved the twins' father playing an antagonistic role that ultimately did not suit the character that he became. So the character's antagonistic traits and role in the endgame were grafted onto Nino because she happened to fit the bill.

[lazuliquetzal]

Whee Fight Scenes! (This Is A Seirei no Moribito Advertisement)

For the past couple of years I have been almost exclusively writing fanfiction for action-fantasy video games which has led to me developing opinions on writing fight scenes. I used to hate writing them because what even happen fight, really, like what the hell??? But now I’ve learned to tolerate them! Sometimes I even enjoy writing them! So now I will share my wisdom with you. 

(Disclaimer: This post was written so I could avoid writing a fight scene.)

My credentials: I occasionally write fight scenes in my action-fantasy video game fanfictions, and I have seen Seirei no Moribito the anime several times. I do not claim to be an expert on fight scenes, but I do claim to love Seirei no Moribito to bits.

Part 1. The Set Up

There’s this excellent anime about a mercenary on a life-long quest for redemption who ends up taking a cursed prince under her protection. It’s about unraveling propaganda and colonialism, and also about kicking ass. The first time I watched this anime, when I got to the episode 3 rice field fight, I thought, “holy shit, I see now that a good fight scene requires not only a kick-ass fight, but also narrative/emotional build up in order to give the scene weight and tension.”

Like, lots of anime have excellent and extremely iconic fights, but this was the show that really made the writing aspect of it stick in my brain. Seirei no Moribito is also an adaptation of a book, which might why this stood out to me: the way its fight scenes are constructed are not as reliant on the actual visuals so much as they are on everything else (the animation for the fight is gorgeous, too, like, just watch this show please it’s so good). That said, I haven’t actually read the book. But I have seen this show several times and the rice field fight gets me so hype.

(And also every other fight scene. I’m never over episode 13. If you have to watch only one (1) episode of Seirei no Moribito, watch episode 13. But also, don’t do that. Watch the entire thing you coward.)

Anyway. What’s going on in Seirei no Moribito episode 3?

Part 1a. The Narrative Stage

Ep3 is early on in the series. The rice field fight is not the first action scene, but it is the first fight scene. This is what we know going in:

Balsa, our main character, is a formidable mercenary with a practical mind and a strong sense of honor. She has sworn to protect Chagum, the prince of the Empire. Her goal is to keep Chagum alive at all costs, because saving his life is crucial to her personal goal of redemption.

The Emperor (Chagum’s father) has dispatched his elite warriors to kill the prince, as they believe that he is possessed by an evil water spirit. Their goal is to kill the prince because the evil water spirit is a bad omen for the empire, and they believe that killing the prince will save the kingdom.

Balsa’s spear is damaged, and she is outnumbered. She has the disadvantage.

We are, of course, rooting for Balsa and Chagum at this point in the story. Balsa’s our main character, she’s super cool, and child assassination is a bad look. We know that Balsa is strong: we’ve seen her do athletic stunts, and it’s been alluded to that she is extremely skilled with the spear. This fight is the first time we get to see her use it, so it’s very exciting to the viewer. We want to see her in action.

Part 1b. The Emotional Stage

Chagum doesn’t have much of a personality at this point: we know he’s a child prince, and we know his dad wants to kill him. So we don’t know him well, but he’s already sympathetic due to circumstance.

When Balsa and Chagum get to the rice fields, they are almost home-free. They’ve spent a lot of effort trying to redirect the emperor’s warriors and the plan almost worked. We are extremely close to safety, so the fact that this is when the emperor’s elite catch up is very tense and frustrating.

All this puts the audience in the mindset of: oh man, they’re so close, I really need Balsa to win! I don’t want the kid die! You can taste the safety, you are almost there—it’s the type of tension that gets you invested in the outcome of the fight.

Part 1c. The Physical Stage

The first half, and the faster-paced portion of the fight takes place in a rice field at night (a classic). Wide open, with water to splash in, and nowhere to hide. It’s right on the edge of the thick forest, which gives Balsa and Chagum an immediate goal: get to the denser terrain so that they might break line of sight of their pursuers.

The second half of the fight is less of a fight and more of a close-up, emotional moment of action. It takes place in a clearing by the edge of the forest.

The physical location of the fight ties in with the short-term goals of the characters: the open field forces Balsa into direct confrontation even though she wants to run, and the clearing by the edge of the forest gives Jin (one of the emperor’s warriors) the illusion of privacy when he tries to kill Chagum, and it gives Balsa cover to hide until she can intervene.

Part 1 – TL;DR

Even before you get to the actual fight, the setup of the fight has inherent tension and intrigue. One can reasonably assume that Balsa and Chagum will survive, because this is episode 3 of a 26 episode anime. But you don’t know if her damaged spear will hold out. You don’t know why the emperor wants Chagum dead. You don’t know if Balsa will kill the emperor’s guards, or if she’ll be able to make a clean getaway with the prince. All these uncertainties create mystery, which creates tension. And tension is what makes the fight fun.

Part 2. The Purpose

I mentioned earlier that this is the first actual fight in the show.

It’s the payoff for a bunch of little questions that have cropped up so far. How strong is Balsa? Is she good enough to win, even when outnumbered? What does her fighting style look like?

A lot of action stories have big fight early on, and that’s because a well-done fight scene squeezes in a massive amount of characterization. In this fight, we learn a lot about Balsa, and we learn a lot about the Emperor and the difference between the Emperor and the people who work for him.

Some questions that get explored: How do they think under pressure? What kind of fighting do they do? Are they strategic? Reactive? Brute force or trickster? How do they solve problems? How far are these people willing to go to achieve their goals?

There’s a moment in this fight when Balsa is wounded, and the emperor’s warriors retrieve Prince Chagum. Balsa ends up retreating into the forest. Jin says something along the lines of: she’s a mercenary, she works for money and she’s already been paid; she won’t risk her life to come back and get the prince.

But she does. Even though she’s been wounded, and even though she had the perfect opportunity to walk away, she comes back and saves Prince Chagum at the expense of her own health. Balsa keeps her promises; Balsa’s personal quest for redemption is more important to her than her life. We know her, now!

Fight scenes are great for characterization because it’s a deviation from status quo. A person’s default state is not “battle,” and stories thrive on extraordinary circumstances. “How does this character change/act/perform under pressure?” is a really great characterization question, and a fight scene is the opportunity to show the answer rather than tell it.

Fight scenes are also great for thematic debate. You get the opportunity to literalize the conflict between different philosophies via characters fighting each other. EZ story moment. You know that one Howard Ashman quote about how, in musicals, the characters sing when they’re too emotional to speak? That’s what fight scenes are to me. The characters fight when they can’t talk to each other.

And then, of course, a fight scene is also moving the plot along. The conflict is happening, information is being exchanged/discovered/buried. Some characters life, some characters get hurt, some characters die. A fight scene is a way to physically bring characters to the state they need to be in for the story to progress (in the right emotional state, the right physical state, the right location, etc). Lots of things going on, which is good—you want all of your scenes to be purposeful.

Part 3. The Details

All of that had to do with the zoomed-out, overall story view of the fight (how the fight fits into the overall story). I am now going to continue to gush about the episode 3 rice field fight up close (how does the fight scene work in isolation). Because Seirei no Moribito rocks.

Part 3a. The Setting

I already mentioned the open rice field/dense forest dichotomy and how that affects the characters’ short-term goals. It’s also a great choice to establish Balsa’s superior technical ability with her spear. The rice field is wide open and relatively flat—no obstructions or distractions, with everyone on equal ground. There are no tricks to pull, no environmental quirks to exploit: this is a clean fight between Balsa and the emperor’s warriors. When she comes out on top, it’s because she’s better than them.

Depending on the character, it might be better to change the terrain. Have the stealthy warrior fight in a forest, where they can appear and reappear and use their sneakiness to their advantage. Put a trickster in a situation where they can improvise traps. There is an aspect of your character that you want to show off, so set the stage so that they can show off. It’ll be totally badass and fun.

Part 3b. The Short-Term Goals

When you read a story, you can reasonably assume that the protagonist will stay alive (especially if you are not near the end of the story). Knowing the outcome can make a story stale if you're not careful. You can lose tension if there’s no risk. Some stories try to create a world/tone/atmosphere so that anyone can die. A lot don’t because that’s a little depressing.

My friend @yellowocaballero has an excellent post on this regarding OP protagonists, but to summarize: if you know the protagonist is always going to win the physical fight, you have to make the win condition not about that. Balsa isn’t OP, but giving characters goals beyond “win the fight” can make a fight so much more interesting.

In the rice field fight, Balsa does not have to defeat the emperor's warriors: she has to get Chagum and herself away alive. Her goal is to make a clean getaway. When the warriors show up, she makes the decision to confront them, and her goal is not just to win, but to win so decisively that they won’t be able to follow her. When Chagum gets caught, she changes her goal to ‘keep him safe at all costs, no matter the harm done to myself’, and she gets seriously wounded. She can succeed in some goals, but fail in others, and the story reacts and keeps changing. It’s the same principle behind why rolling a nat 1 is so entertaining in D&D. The more you fail, the more creative you have to get. 

Part 3c. Monkey Brain

There is just something so cool and so satisfying and so fun about seeing a character kick ass. There is also something very cool and very satisfying about seeing a character get beat up. The rice field fight has it all: Balsa kicking ass, and also getting beat up. It’s fun! Fight scenes that know exactly why they are cool are just so good. Hell yeah, overindulge and use every single weapon despite how impractical they are. Yes please show someone pulling off an unrealistic move for the coolness factor. Absolutely include the explosion-that-would-definitely-kill-but-doesn’t. 

Part 3 — TL;DR 

If you want the fight to be cool, make it cool! Set it in a cool place! Give your characters opportunities to show off! Make it interesting by changing the win conditions! Conflicting goals forces characters to prioritize and it makes scenes fun!

Part 4. Words???

Unfortunately, as mentioned, Seirei no Moribito is an anime and I haven’t read the book so I cannot analyze and gush about its prose in this section. Otherwise, the advertisement would continue. You’re safe for the moment.

Re: prose, there’s probably a post out there that goes over the language of fight scenes better than I ever could. I write with the diction of a middle-grade author because I read PJatO too much as a child and it rewrote my DNA. This is not a bad thing, this is just a fact. So I’m just gonna fire off fight scene writing advice I heard from around:

Filter words — if you want a more immersive reading experience, you want to avoid filtering the action through the narration. So use sentences like: “Her arm hurt” as opposed to “she felt her arm hurt”. But if you’re trying to distance the reader, like recreating the feeling of shock/dissociation, then filter words would help achieve that effect.

Make the rhythm of your prose match the energy of the fight. Short and choppy feels fast in the brain. Long and wordy feels overwhelming. Fragmented sentences and run-ons are chaotic. Customize the vibes.

Establish the important details of the setting beforehand so that you don’t have to stop the action to describe the specific placement of a relevant tree stump. I think I heard this one from Brandon Sanderson on a podcast somewhere, but I think about it a lot when I write because blocking is hard enough and it's even harder when you have to stop and attempt to translate the movie in your head into words. I can’t tell you how to block a fight scene. We need to find someone else who is smarter that can tell us.

Part 5. The Point

Fight Scenes are Fun, actually. They can be really effective if you set them up properly! If you know what you want to do with them, you can arrange it to be as cool as possible! You don’t have to be in a visual medium to make fights fun. You just have to figure out how to translate the cool bits into prose, which I think is mostly done through giving your fight cool shit on both the macro story level scale and the micro scene level scale. 

Also, watch Seirei no Moribito.

[meadow-roses]

ooo your characters look reeeaaallllyy interesting. Tho I'd like to know a little bit more about keepers. Have you written much? If so, where can I read it in order?

Thank you so much! I am SO glad to hear that!!! :D The keepers have pretty much consumed my brain for the last four years hahaha

Basically this story happened because my sister said one day "what if instead of goofing around making crossovers/aus of stories we like, we made up brand new stories and then made them crossover." Then we started the hard work of creating a whole bunch of co-universal plots so we could send the main characters on crossover adventures together and have it be 100% canon 😂

To enhance this crossover aspect, we're trying to make each of the main stories a different genre- Ketsler is from a second-world fantasy, Skylar from an intrusive fantasy/fairytale setting, Betty mystery thriller, and Felix sci-fi superheroes!

@wednesday-chicken is a great resource if you're looking to learn more, it's a blog specifically for the keepers wip containing all the posts made both by me and @masterfuldoodler (of course you can always send an ask or dm!)

Since the keepers is a collection of stories that all come together to tell a single narrative, (for example "Dauntless" is a four season long show but it's the first installment in the keepers series) it's kinda messy and all over the place lol We're still trying to come up with the perfect publishing order, but here's a timeline August put together that covers each of the separate storylines and how they line up chronologically:

I'm hoping to get things organized better once I've got a website up, but I have no idea when that will be lol

I use my personal blog as a place to share art, but also to make it easy for me to reference past drawings without having to dig through a heap of paper, so the tagging system should help if you're willing to hunt around a little lol

#keepers written will take you to all of the writing I've posted for the wip, but uh. I'm really bad at actually posting my writing lol

#keepers universe is for ALL posts for the keepers wip (a recent addition to the system so it doesn't Actually include everything right now, sorry 😂)

#dauntless wip will take you to JUST posts for Felix's backstory.

#keepers will take you to the posts for the keepers plotline, except for the posts exclusively for the dauntless wip

For anything else all I've got for you is character tags 😅

Here's direct links to the main cast on the keepers blog:

#ketsler . #rhyin . #felix . #skylar . #gigi . #betty . #haru

There are quite a few other characters. They will all have their names tagged as well, so feel absolutely free to poke around!

If you have any questions, or are curious about something specific, feel free to send an ask to here, to @masterfuldoodler or @wednesday-chicken! :D

(also, just a tip. the search bar on blogs will search the blog for posts with the phrase in the post, if you click a tag that will bring up all posts tagged that sorted newest to oldest)

[drbased]

I am sickened by your symbolic state posts because at the moment I’m still living at home, a place that is generally unpleasant for me. I’ve been living in a near permanent state of maladaptive daydreaming since I was a young teenager and its only this year, with moving out on the horizon, that I’m trying to move from my head into reality again. It’s difficult and I don’t exactly know how to live 😂 like with your video game post especially. I don’t know how to live in the moment by following urges. I think: I want to write later, but I don’t plan what I’m to write. Instead of following the urge to do one certain thing I seek out a mindset for the future and then never get around to it. I’ve bought countless items, like necklaces with symbols or woven bracelets, allways promisimg myself that they will be special and lifechanging only for them to be empty. How do I get out of this? How do I stop myself from turning my life into feeings instead of actions?

(if you’ve given a similar answer I apologise. I’m scrolling through your symbolic state tag rn)

So, I've been having a hard time responding to this one. I still haven't been able to finish this post in a way I'm happy with but I really do want to respond so I'm going to have to keep my answer short and hope that I can produce something more valuable at a later date. But anon, your message has really stuck with me. Here's the answer I started writing some time ago:

How do I stop myself from turning my life into feelings instead of actions?

People keep summing this stuff up better than I can and it's driving me slightly insane; all younger me wanted was to be Known and now I have random anonymous strangers I've never met reaching into my fucking Soul like how is this possible. first the yearning anon and now this.

So the Bad, Irresponsible answer is to do what I did, which is sit in a room and hotbox it and ask myself questions and wait till my brain answers them. Weed is what allowed me to blow this whole thing wide open for me. But now I don't do weed anymore I can say that you achieve Inner Peace(TM) the 'hard' way just as well - but dear god with or without drugs this IS A PROCESS. And it HAS to be a process, because there is only process, no destination. After all, there is no 'you' in the future - there is only the reality of now, and the reality of 'you' in the now, and that is what is awe-inspiring and beautiful.

The entire process of re-engaging with reality has so many interconnected parts and requires so much analogy and explanation that I have been seriously considering writing a book about it. I struggle with PDA (pathological demand avoidance), and I believe it and depression are all wrapped up in my symbolic mindset. But since I don't have any background in clinical psychology I would feel like a hack writing a self-help book. So I'm probably going to end up talking about it here, instead. And maybe one day collate it all into some sort of book or series of essays.

The core of all of this is acceptance. Defining acceptance is hard; I best describe it as wanting to, say, move your arm - the moment you've wanted it sufficiently, the moment it has happened. There is minimal causal relationship between wanting it and it happening - sufficient want becomes action, necessarily. That sufficient want becomes action is something I learned to recognise during this process - the symbolic mindset is disengaging with the mundane reality of cause-and-effect such that said cause-and-effect is re-evaluated with a narrative structure instead, utilising symbols to generate meaning with an agenda in mind. So returning to reality has to involve strengthening the relationship between cause-and-effect, and the most sustainable way to achieve this is to recognise what you want moment-to-moment, and then immediately do the thing.

So, I refer to this really irritating (complimentary) comic:

When you struggle to do things for mind-based reasons, the claim 'it't not that simple' comes from a place of being unable to recognise that part of you doesn't want to do it. And this is where the acceptance comes in: being able to recognise yourself as messy, imperfect, finite, human, and a product of your environment - instead of a glorious, infinite source of potential - will result in you feeling less fragile, more complete, and less reliant on symbols to drive a narrative about yourself so you can feel comfortable with existence. Acceptance of yourself and your wants will result in more authentic actions, which will result in less of a need for everything to 'go right'.

The process of acceptance is something that happens within you, and you will feel it when it happens: acceptance is when something goes from simply being theoretically true (I can state that I am wearing blue trousers) to being something I believe (I know that I am wearing blue trousers). Said acceptance is much less fragile, because my belief of the colour of my trousers is something I no longer need to be true - if someone says my trousers are red, I can say 'oh, they probably are' and I can look down at them and make another judgment. If they're red, I don't panic, because when I believed they were blue, that was an innocent belief that came out of my flawed human mind. I am, in short allowed to make decisions, I am allowed to believe things, to think things, without them needing to be correct, without them needing to be more correct than the reality in which I exist - the reality that came before me, and will exist regardless of my ability to percieve it, Descartes be damned.

If you want to write, but find yourself unable to write, you might have to confront something embarrassing about yourself: that you don't, actually, want to do the process of writing; instead, you want to have written something. But believing of yourself as a conduit to, and obstacle in the way of, achievement, posits said achievement as a metaphysical construct of greater importance than the literal reality of how many hours you sacrificed for said achievement. There's both a humility and a sense of responsibility in all of this: you're the one who generates meaning and feels the feelings, so you must prioritise yourself over some percieved obligation to 'the universe' - your achievements are your own and do not exist in the ether first. But reality itself exists first, and you must engage with the physical world in order to strengthen that causal relationship. There was a post I read a while back about how if you're struggling with gender dysphoria, then exercise can really help - this works because it operates under the same principle that without a natural interaction with cause-and-effect, the brain constructs a narrative to fill in the gaps, kind of like phantom-limb syndrome.

The realisation 'it is that simple' comes from the moment of acceptance. The moment 'it is that simple' is the moment you understand that writing a book is the same as moving your arm - if you want it enough, you will do it. There are many things that you may want *in theory* - but those are infinite, metaphysical, symbolic. There is only the reality of who you are and what you experience, moment-to-moment. Until you go and make that sandwich, your hunger isn't even proof that you need to eat anything. You show your depth of self through directly interacting with the real world, whatever form that takes. Symbolic thinking is what happens when you stop interacting with the real world, including the reality of your own selfhood, and the result dissatisfaction will have you sunk-cost-style retreating further and further back. Breaking out of it is hard but it's all a testament to just how much what we want is who we are.

I've barely scraped the surface here of what it takes to do all this - but this is the fundamental basis of the principle that I developed and still use to this day. It's the principle I used that got me starting to write on tumblr - instead of pathologising my desire to analyse, I decided to start getting my thoughts out into the world. Instead of waiting till I can achieve a known symbol of completion - instead of writing a book - I decided to engage in a much more immediate form of writing by directly writing out, with zero plan, what I think and publishing it instantly to the world. Because of this, my thoughts have ceased to exist as some testament to my big-brained genius - and will vanish along with me when I die - and representative of my fragile ego, but rather something I use to directly engage with other in the material space. My ideas now generate meaning because of their relationship with reality, not in spite of it. And it's infinitely more satisfying.

[retro-friki]

1 and 15 from the top five female characters meme

Top 5 protagonists

1.Utena Tenjou: If I wrote what I like the most about her, we would be here all night. She’s great and gender. 10/10

2.Hikaru Shidou: Very earnest and brave. 9 year old me was impressed.

3.Saki Asamiya: Yo-yo detective cop with Great yo-yo and detective skills + a tragic past full with mommy issues.

4.Catra: Well, she’s the deuteragonist, but whatever. I like that she’s a mess and somehow managed to get better.

5.Suletta Mercury: Something she said has been permanently stuck in my brain and now I have a little tanuki in my head encouraging me to get things done. I hate it.

Top 5 Female characters I want to rescue from their horrible narrative

1.Saki Asamiya: Just horrible things keep happening to her and then she fell in love with some older dude because the readers liked that ship even if the mangaka didn’t really care about romance. Also I know she doesn’t end well, so that’s why I haven’t gotten myself to read the rest of the manga.

2.Kaoru Orihara: WHAT! THE FUCK! WAS THAT CHARACTER ARC!???

3.Ericht Samaya: My Roman Empire. So much potential and she’s not even a character but a plot device. And while we're at it, I think that Miorine was also done dirty in cour 2. I'm not talking about the divorce (I endorse it, makes sense to her character), but about how she wasn't able to do much during the second half of the show.

4. Princess Sakura from Tsubasa Reservoir Chronicles: Spends all of the series being a damsel in distress and a plot device for the main male character. This wouldn't make me so mad if it weren't for the fact that TRC was written by CLAMP who made Rayearth and CardCaptor Sakura. Why would you give your female characters the "shonen manga female character syndrome" only because you're writing shonen now?! Wouldn't you want to change things? (actually their first shounen manga had a female protagonist! this doesn't make sense. I hate Tsubasa).

5.Every single female character from Naruto: As capable as the guys but never as relevant. Condemned to be housewives.

Extra: 6.Manga!Juri: How come she fell in love with Touga of all people?!! Save her from herself!

[beardedjoel]

I LOVE SMOTHER! I'm so sad the end is nigh, but I really appreciate you sharing this story with us. Others have said it but the characters are so well-developed which I think is frankly incredible for a story as complex as this one, where you're writing on taboo topics and balancing creating a compelling, interesting narrative that is also hot and makes us all wanna scream :) This is what I'm talking about when I'm like... fan fic is literature. I've been reading a second time and gotta say you write the internal turmoil Joel and Blossom grapple with sooooo so so well, like especially as they navigate their dynamic in the first part of the series so far. You build it up so well that this second bit of the series has unfolded so effortlessly, although I know you put a lot of work into this and it is very much appreciated! In the beginning bits where Blossom is going back and forth in her mind about her desire and sense of comfort versus fear and hatred and anger (especially in the times where Joel loses it on her, especially in penitence). And Joel just clearly feeling like a piece of shit about a lot of stuff but also wanting so badly to protect and nourish what is possible for them. I could go on forever! It is all just so well done and now with the plot ramped up I am so excited for whatever happens next. I almost want him to be willing to let her go (very begrudgingly of course) but I'm also like... would he really ever let that happen? In my mind, they are HEA and he teaches her archery and even though she becomes more experienced in the ways of the world as time passes, she is still always his little innocent little princess 🥺P.S. I also truly do not mean this is an annoying disrespectful GIVE US MORE CONTENT way because I know it is terrible when people do that to authors and you truly have given us so much, but wanted to echo that what the one anon suggested about a one shot where Joel takes care of Blossom while she is sick fucked up my whole brain because we all know you writing Joel taking care of his girl makes our hearts stop in general, so him doing it when she is sick... like Joel gently cooling her down with a towel if she has a fever (but inevitably heating her up again 😏) , making sure she has the comfiest pair of PJs, playing with her hair or rubbing her back and not caring if he gets sick too... I CANNOT. I'm just glad someone put it in my head because it will be in my day dreams lmao😱 Thank you again for everything!

oh my god HI

literally how the heck am i supposed to respond when i'm literally still speechless at you taking the time to send me this! honestly, just thank you so much for loving joel and blossom and their story that i'm telling 😭 i think upon reflection you saying how the beginning was so tumultuous and kind of unsure that them finally finding their stride together really came at the right time. like you said, in a way it came about naturally and effortlessly to me as the storyteller cause it just made sense for things to progress like that in my mind!

and i do love the idea of joel being willing to let her go, it's kind of so tragically sad it eats at me in that angsty writer way haha. he may grapple with that some in the wake of what's happening right now, but like you said in the end that man would not be down to do that like AT ALL.

the one shot idea honestly is so cute. i've rolled it around in my mind, and if enough ever sticks so that i'm like yeah i could write a whole one shot around enough ideas for it to be fun to read for you all, i'll do it! i do plan to write one shots for them in the future as i'm inspired to so it's definitely not out of the realm of possibility! 🤍

anyways!!! thank you again so much. i'm always down to yap about smother anytime.

[dangermousie]

would you happen to have thoughts about the acting/casting and/or depth of characterization in rise of ning? i'm watching it and wanna be more into it but fsr most of the cast (besides wanyi and the stepmom) are not very...charismatic? to me 😧 would love a convincing mousie blog on the topic if you have one up your sleeve!

I am a terrible person for this kind of question because (a) I tend to watch most shows for the mains and supportings are less important to me in general and (b) I am not really a person who wants to convince others to like what I like because all my liking means is I enjoy it; others may or may not - I am no arbiter.

This said, while the OTP are the shining stars of the show for me, I do find the rest of the characters interesting (even if a lot of them are not likable - I dare anyone to find Dad likable.) I think it's because they all feel like real people to me - in their good and their petty. Even minor characters like First Aunt - I knooow women like this. Or the Dad - too many men are like that. Or take oldest daughter of First Aunt - so many other narratives would make her evil or besotted stupidly to the end but she is not - she ends up doing the sane thing and moving on from her crush and repaying FL's favor; but they don't become BFFs, they basically a nicely tolerant, which is a realistic thing in families.

And it allows characters both greyness and consistency. Take Lady Qiao. Awful person but loving mother and you really understand how Dad and societal structures pushed her into what she is. Or, even better, grandma - she is very much a grande dame of society, I am sure she was a good wife, but it's clear she is part of all the generational trauma and dad got his tendency to favoritism from her. And I love that she's consistently so - no magic change of heart vis-a-vis ML. It's realistic.

As to non-Luos, the only ones we really see are Ci Sha's sinister sexy marquis and his nephew. I am interested in the former not just for the hotness (tho mmmm) but because I want to know what his deal is, and nephew is interesting enough for a minor character.

(I am leaving actors out of this write up because I think they all do fine jobs, but mainly because unless acting is truly bad, I care about the characters only.)

This said - this is (a) very much a costume take on slice of life or, perhaps better, a cdrama take on something like a Gaskell novel - I love that small but wonderful subgenre but depending on one's taste, it just might not be one's bag (no matter how well a proper harem drama is made, for example, I just don't like them) and (b) this is all my very subjective take - I am a big fan of "clicking." I believe things either click for us or don't, somewhere in the lizard brain; we can then write a long explanation as to why but it really is an attempt to explain after the fact. And this just might be a situation where those characters/narratives just don't click for you. I mean, plenty of people enjoyed Are You the One this year and I felt like it poisoned my puppy - not even 100 essays could ever make me like it because it's so subjective. I could very well go "I get why X likes it" but it would, alas, not make me like it any more than I do now. I am one of probably three people who dislike the main premise of Nirvana in Fire (could write essays on it!) and the fact that everyone else loves it has not changed my mind.

I can perhaps explain (badly) why I think the click happened for me here, but I have no eloquence to make that click happen for anyone else (if I did, mwhahahahahaha I would take over the world and adapt every good danmei out there :P)

[jade-kyo]

Season 15 post Restoration thoughts

Back when Restoration was first announced I rewatched the shisno trilogy to weigh the pros and cons of everything getting retconned. I’ve decided now that Restoration has aired to do another rewatch like that but this time more just general thoughts and headcanons

welp let’s get started!

Oh hey this is actually funny

Still say Dylan’s original cameraman was funnier, they should’ve kept him instead of Jax. Frank you will always be famous to me.

KAIKAINA MY BELOVED

Bringing back Vic was a big brained move fr

On the topic of Vic I’ve always liked the theory that he was actually one of the alpha fragments, specifically the love fragments… hmm things to consider

The whole situation on chorus is also interesting… further things to consider

Oh hey look at that Dr. Grey actually sounds like herself. What a wild concept.

The reds and blues are actually friends and act like it? WHAT A WILD CONCEPT

Grimmons closet sex you will always be famous to me

But also Church basically writing gay smut of his friends is very funny

Man this is actually funny. Wild concept.

Nah but there’s a legit joke about them getting a bad movie bro predicted the future

Canon band au

I love how all the things Carolina mentions happening are so low key compared to the others. Like yeah Grif convincing Simmons GoT was real is wild meanwhile there’s actual dinosaurs

Yeah the whole red team and blue team thing IS outdated. Concept wild.

Genuinely love how you can tell just how much Carolina loves these idiots and their shenanigans. Such a concept.

“No he means Church” frothing at the mouth

OH HEY THEY GENUINELY CARE ABOUT EACH OTHER AND ABOUT CHURCH. WILDEST OF CONCEPTS

“I’m not in the military anymore” yeah Grif that sure is a GREAT point. Concepts are wild.

But also can’t believe we’ve had to watch grimmons get divorced twice

PROTECTIVE TUCKER MY BELOVED

Dead beat dad Tucker jokes my BELOATHED

Man remembering the characters ranks. Really concept the wild.

“We’re having fish” bro why did you say it like that makes you sound like a cannibal 💀

Loco you will always be famous to me

“You don’t have to destroy the past to have a future” what a great way to show that you can let go of the past and trauma while also honoring the memories of those you lost. Concepts really do be wild sometimes.

Damn I think I’m coming back around on carwash- I am not immune to hand holding and funny take off your suit bits. Platonic or romantic they make me feral. I’ll take it either way.

Freelancer death room is a genuinely cool and fucked up scene

As much as I’m enjoying this rewatch I still can’t stand the Sarge butchering that starts in this season and just get progressively worse

SERIOUSLY VIC IS A FRAGMENT HE LITERALLY SAYS “it’s me!” IN REFERENCE TO THE ALPHA

Y’all were right Temple is totally gay for Biff

Oh god I forgot about the shitty animation

Also werent the simulation bases started after Tex fled from PF?? And also after Carolina went MIA???

Rip Biff bro did not deserve that but to be fair the second he said his girl was pregnant he was doomed by the narrative

Caboose cursing my beloved

Donut is a furry confirmed

TUCKER ASKING CABOOSE HIS THOUGHTS AND EVEN AGREEING AHDKGAKSH

While I am enjoying this rewatch I think I figured out what always bugged me about this season. The reds and blues are the wrong kind of dumb. Like yeah they’re idiots but you seriously didn’t consider once that the blues and reds might be lying to you? Especially after everything that happened on Chorus?? But especially Carolina and Wash not really questioning it??? Like idk it just feels off

Temple has so much potential as a villain cause like he’s not wrong… and I think evil sim troopers is such a cool concept…much to be considered

Oh actually acknowledging how much they’ve accomplished especially on Chorus?? Of concepts to be wild

Another thing that bugs me is this constant use of “good guy/bad guy” language. just feel off for the themes of RvB.

Ah yeah Grif’s volleyballs

Grif might be able to give Wash a run for his money on that Sarge impersonation

LOCUS!!!!!

Locus-Grif team up my beloved

METAL GEAR REFERENCE SPOTTED !

EVERYONE BEING PROTECTIVE OF CABOOSE

But also I think Caboose not understanding death is weird like yeah he’s dumb but again not that kind of dumb??? Idk just one of those things that doesn’t entirely sit right with me

I do like the interactions between him and the team tho

Loopy Wash my beloved

Again will never forgive what they did to Sarge

Locus is gonna steal yo kneecaps

Ah yes Church’s obsession with fucking up Wash continues.

Honestly in hindsight I don’t actually love Wash getting shot. It really feels like they just use him as an angst punching bag because he’s a fan favorite. And this is coming from someone who LOVES angst

Also I feel like Tucker rushing out is ooc when a big part of his arc on Chorus was him doing that, getting people killed, and then learning that sometimes you gotta think things through. Kind of the start of how they undid and then redid his arc

OKAY BUT GRIF AND TUCKER MOMENT!!!!!!

Okay again this weird insistence of all the enemies being comically evil shitty people is very antithetical to the core themes are RvB

Everybody shut the fuck up the Caboose and Tucker moment after Caboose ties the guys shoelaces together is so fucking cute holy shit I am frothing at the mouth I love them so much

My hatred for anything time travel related remains

AUDIBLE GASP

GRIMMONS WHY ARE WE HERE MOMENT MY BELOVED

Yeah Sarge your monologues ARE better. Sure wish they’d remember what those monologues actually meant for your character development. Wilds the concept huh.

Man Grif choosing to stay with his friends no matter what. Truly concept in my wilds.

LOCO NOOOOOOOOOO!!

Oh god they hit you with the Caboose feels that should be illegal

Still don’t like that Caboose got to say goodbye tho. I said it last time but it’s too- fairytale-ish. The themes of grief in rvb have always been about how it’s unfair and a lot of the times you don’t get to say goodbye and you don’t get closure but you still have to learn to let go and move on despite it all. Want it noted this is also a criticism I have of the Chex stuff in restoration.

Furthermore Tucker really was prepared to create a time paradox in order to bring back Church AND THEY JUST NEVER CIRCLED BACK AROUND TO THAT???? Bro Tucker grieves Church so much and they just never address it

Also Vic’s sacrifice is further proof that he’s an alpha fragment

GRIF SIBLINGS MY BELOVEDS!!!!!!

Dylan’s speech at the end is very good and it makes me love the simulation headcanon more cause that means it’s technically Church, or at least what Church believes/hopes the world would think of the reds and blues.

Also can’t believe Temple, Bucky, and Cronut are all still alive and they just never brought them back in any way.

ALSO CAROLINA SINGING AKHSKAHSKHDKSJ

CABOOSE DRUM SOLO

Alright then that’s seasons 15! …. On my hands and knees begging for forgiveness S15 TAKE ME BACK IM SORRY I WAS EVER MEAN TO YOU!

But in all seriousness I’m way more open to this as a possibility of what happens next than I am Restoration. This is just glorified fanfiction and like it’s fun! I have fun watching it! I’ve got my complaints but still at least it gets that these characters care about each other. It may not have the strongest writing but it’s not terrible and you’ll catch me rewatching it and enjoying it from time to time.

… do I have to watch s16- can’t I just skip it? Please no amount of Restoration sucking is going to make me like that season. I might just skip it and if I’m ever feeling more up to it I’ll circle back around to it. In all honesty I think 16 and Restoration are on the same level for me. Bad seasons that I mostly ignore but I will on very rare occasions rewatch them if not just to bitch and complain. I do think Restoration is a little better than 16 but still easily in the top 3 worst seasons of RvB.

Welp in that case you will most likely see me talking about s17 next unless I’m just really feeling the self hatred enough to watch 16

[lukevonhagen]

my take on marius von hagen: part one, his approach to romance

marius has been with me for over a year now and he pretty much occupies my thoughts 24/7, and this was something i have been itching to write for a while. so... strap in, grab your juice box and your cheetos and let's get this show on the road yeah?

Fair Warning, this will not be under a read more, so i apologize in advance if it gets pretty lengthy. (edit: this post is abt 1.8k words long, wow sorry lol.)

this is going to be a character analysis... sort of; it's an analysis of the version of marius that lives in my brain rent free. given that this is an introductory post to what i believe might be a series of my insane marius ramblings, i think i should provide some insight as to what said marius is like in order for the rest of this post to make sense.

first of all, i embrace realism and i reject canon. in marius' sweet wonders card, he finally reveals the significance of the z dog tag he's always wearing. while i think it's really magical that he was able to move on from blaming himself for his mother's death by having an epiphany staring at the ferris wheel... well, i like to make him worse and i just don't think, ultimately, that it's likely or realistic. the marius in my head has a very hard time trying to justify his own existence. i'm not saying he doesn't want to live, or that he'd put himself in any kind of danger, but i believe that he works very hard in order to justify being alive (to himself). not only does he still grapple with the loss of his mother and the role he believes he had to play in that, but there's a part of him that also blames himself for giann's disappearance.

marius believes that he is a vortex that sucks in everything, that destroys everything in its wake. we know for a fact, above all else, that marius doesn't want other people to have to go down with him.

i also believe (especially due to this description) that marius personally manufactured the image he has as a playboy, as opposed to it being a reputation that was given by others which he eventually leaned into.

allow me to elaborate.

marius, in his desire to avoid people being chewed up in his life and spat back out, would want to control the situation as much as possible. there are a few reasons why i believe he'd make this reputation for himself, which are 1) having control of the narrative of himself and making sure people do underestimate him is precisely how he maintains the upper hand in many scenarios (because let's face it, no one expects ditzy, arrogant marius von hagen to be able to outsmart them), and 2) it's much easier to push people away when he makes himself seem incompetent and undesirable. he may be one of the richest men on the planet, but sometimes money isn't enough to redeem an awful composition.

all of that having been said, marius additionally has to have severe trust issues due to the fact that he has a lot of influence and wealth people undoubtably want to use him for, and said influence is the source of a traumatic experience he went through as a child that would forever change the way he'd interact with others in the future. if you remember, marius vaguely alludes to an incident in will of the trees.

he mentions it again in the card in the darkness when he and rosa get trapped in a dark cave and he begins to panic, only this time he's a little more detailed about what happened to him in order to explain his anxiety to her.

then, he actually gives the details of what happened in his personal story.

mc remembers the hints marius had dropped to her a couple of times regarding this incident, so she then asks:

i don't believe marius actually blamed himself for his mother until this was said about him. his mother is the root of all things; he thinks that if he was never born, she would have never died, and perhaps she and giann would still be around and would be happy and healthy. he convinces himself that his existence destroyed his family. the stress of his feelings and anxiety makes him extremely sick as a kid.

all of this was too much for a young marius; now, remember when i said that i reject canon? that's important, because i don't think he ever properly recovered from this episode. i fully believe that marius does need and should go to therapy as an adult, and hasn't done so. my headcanon as to why he didn't, and why he gives off the impression that he's fine now and everything is fine now, is because he wised up and realized that he was being a burden on others and his mother's death would be in vain if he did so.

marius, tired of being a strain on the people he loves, pretends to be mentally sound to avoid his father and brother worrying about him. the way he chooses to cope with this is to disassociate himself with these events that happened to him, to the point where he talks about them like it wasn't him personally that experienced it. (i might touch upon this again in a future post if it becomes relevant.) he can't let others know that things bother him, because it can be weaponized; it would make him look weak, and the last thing he wants is anyone worrying about him but himself, or anyone to take advantage of that weakness. consider this as a strategy he adopted from the "conceal, don't feel" philosophy.

that having been said, a personal acceptance to "get over it" to stop feeling like he needs an emotional babysitter in his relatives =/= a lack of resentment towards others for how that was handled. marius nearly died due to the cruelty of a jealous relative, and his family was right in trying to protect him (as burdensome as he feels he may is), and he learns pretty quickly that he cannot trust others.

he still is one of the most influential people alive, and that means there's going to be a slew of people walking in and out of the revolving door leading into his life that are going to want to take advantage of that fact. it also goes beyond just people wanting to manipulate him, but he doesn't enjoy playing along in this circus of social hierarchy, and doesn't enjoy the people hanging around in these spaces. because they're ingenuine, they have no merit to him, and quite simply put he's looking to fill his life with color and sincerity.

i propose that... in order to consider a romantic relationship with someone, despite how much he longs for one, he would need to deeply get to know the person first and it would take a significant time to do so... and i know what you're thinking, it's just like a regular relationship, right? getting to know someone before deciding if you want to be with them? except, to marius, this is extreme; this social sphere he occupies has effectively chewed him up and spat him back out, because he's at the top of the top. his father is the wealthiest man in the world. marius by virtue of being a von hagen is essentially on the same level as royalty, and his family name is not enough to protect him. he has to be sharp, and he needs to be alert and constantly on guard.

he'd have no idea what someone's intentions may be with him when he meets them and he knows better than to blindly trust a person's seemingly apparent good faith, but also... he's so worried about dragging people down that he'd be almost afraid to consider it. it isn't enough that people want to use and abuse him to their hearts' content, but they'd try to tear up anyone else who went in there with him, and marius would be afraid of that outcome. he's already ruined the lives of his mother and his brother in his failure to protect them from the circumstances that removed them from his life. he would be unwilling to cause someone else he cares about to be put in the same situation, and he wouldn't be able to bear it if they also ended up abandoning him.

all of that leads me to say: i believe he would be more scared and avoidant upon realizing he was falling in love with someone, rather than immediately trying to pursue it with all he's got like he would his other endeavors.

the reason? it's so simple to pursue art. art is an arbitrary passion of his that doesn't impede on anyone else but himself, nor is it influenced by any outside forces; marius has full control over it. the same goes for his company; no one is going to sit there and hold his hand with his newfound ceo duties. he's always been capable of pursuing things on his own. romance is different; romance involves putting his young and fragile heart on the line to go after a whole other independent and outside entity not knowing whether or not he's going to face rejection.

eventually, i believe he'll completely learn to get over the hurdle, but in the interest of transparency... i think he's going to need a nudge from the other person first. a sign it's reciprocated, before he has to put his heart on ice.

i think it's on brand for marius to be a tease when you meet him; it is a genuine facet of his personality, but it's also something that feeds well into his reputation. he's assuming that people are going to know exactly who he is when he runs into them on the street, so he doesn't even bother dropping his pretense. but, i do think that extends... he doesn't drop that mask right away, it takes months and months, and lots of patience and understanding in order to unravel the mystery that is marius von hagen. he's going to want to gauge whether or not it's something he wants to commit to, and if it is, he's going to have to be prepared to unpack all that baggage. he would have to believe that this is going to be a happy ending for him, that his fairytale won't be a tragedy, in order to see a path forward. once marius goes into something, he doesn't step out.

so, he won't put up that much of a fight if he starts to fall in love with you, but that doesn't mean he would be eager make that leap of faith without getting a hint that there will be a safety net ready to catch him when he falls.

[thenationaltreasuregazette]

The podcast assumed that Patrick lived outside of Philly because the location tagline in the film was mis-timed. They would know that if they'd even bothered to watch the commentary.

It has occurred to me that in my judgement of that podcast's lack of research, I accidentally also cast judgement on you for not knowing the explanation as well. I do apologize! I appreciate the work you put into your blog! I have long been frustrated with the lack thereof on that podcast and their adament denial of other perspectives. I spoke harshly without realizing the implications.

Hi anon!

First of all, 0 worries! I did not take it that way, and if this has anything to do with my response time, please know I tend to get back to things in

But let's talk about Patrick's house!

As I mentioned, I've only listened to the first, maybe three episodes of the National Treasure Hunt podcast. That is not necessarily a reflection on the podcast, I just only really have space in my life and brain for one (1) podcast at a time and for the past few years it's been Scriptnotes.

I think it's awesome that there even is a National Treasure podcast. They even had some of the writers on? As someone who spends Too Much Time Thinking About National Treasure™ I think it is immensely cool that two whole other people also wanted to spend Too Much Time Thinking About National Treasure™ to the point of making, at the time of writing this, 80 episodes of a podcast about it!

That said, yeah I was surprised by how adamantly the hosts believed, at least in the episodes that I listened too, that Patrick's house is outside of Philadelphia, not outside of D.C. That just...doesn't track with the film the way I'm reading its conventions of establishing time and place.

Let's explore.

The first mention of Ben's dad comes in minute 55 when Ben says:

BEN Yeah, but I didn't think I was gonna personally have to tell my dad about it.

From there the film cuts to the FBI entering Ben's apartment and finding the Silence Dogood letters, then jumps off the letters to Ian's crew figuring out the Silence is a name, then returns to the FBI so they can tell us what the Silence Dogood letters are. Only then do we cut to Team Treasure pulling up outside of Patrick's house.

So I get it, a lot is going on.

There's also this exchange:

RILEY Well, how long do you think we got? BEN I'm gonna give them a couple of hours at least. I hope.

I see how this could be interpreted to mean that Ben and Co have already traveled a couple of hours away from where the FBI is searching, thus giving them the lead. I don't think that's correct though, for a few reasons.

Mainly, as we discussed in the timeline articles, the FBI can travel much faster by helicopter than Ben and the gang can travel by car. So even though narratively it has to be Sadusky arriving at the house--it can't be some new person from the Philadelphia field office, that's not satisfying--that can very plausibly happen.

I interpret that buffer to be the amount of time Ben thinks/hopes it will take the FBI to track down who his father is and where he lives. Remember it's 2004, so everyone's lives are less public than they are now. Ben hasn't spoken to his father in some time, so it's not like they'll have a bunch of phone records connecting Ben to a landline at Patrick's address or anything like that. It will take them some research to identify Patrick and find out were he is.

But also, nothing else suggests that we have left the setting of D.C. that we're currently in. It's the same general time (night) and the characters are in the same clothes. There's also no chyron telling us we've changed times or places. None of the film language here is suggesting that we've changed locations.

Then Team Treasure reveals the cypher, and Ben asks for the letters. Patrick replies:

PATRICK I don't have them. BEN Where are they? PATRICK I donated them to the Franklin Institute in Philadelphia. BEN Time to go.

The introduction of "Philadelphia" here is a new concept to the story. Before this moment, everything post-Charlotte has taken place in Washington D.C. It would be unusual if we were supposed to already know the characters were now outside of Philadelphia when this pronouncement takes place. If we were--and if they were already nearby--I think it's less likely that Patrick would say "in Philadelphia" at the end of his statement. If they're near Philly, then it would just be "I donated them to the Franklin Institute" for the same reason the chyron outside the FBI building only reads "J. Edgar Hoover FBI Building" not "J. Edgar Hoover FBI Building, Washington D.C." Because the movie has firmly established that we are in Washington D.C. already.

Also, I'm supposed to believe a movie built on montages of American iconography is going to let us transition to a new city without at least one establishing shot?

And finally, Philadelphia is introduced as a problem for Ben. If they are outside of Philadelphia it's annoying, sure, and they'll still need to send Riley, but it's less of a race against the clock than if they're in D.C. If they're still in Washington when Patrick says this, then not only will they have to find a way to examine the letters without being spotted, but they're now also looking at a 2 1/2 hour drive they haven't planned for. And at least to me, that's what the movie is implying: that a whole additional leg of this journey has been added.

In defense of the podcasters, and anyone else who reads the film this way, I don't think you should have to listen to the commentary to understand a change in location. The film should be readable on its own.

Buuuuuut I do still think it's an unusual way to read the film, given the conventions for changing location we're shown throughout the movie, and in film language in general.

For good measure, let's look at all the chyrons and location changes.

The movie opens with the chyron "Washington, D.C 1974." This is important because we have no establishing shot to tell us about the time or the place, and it's important to know it's a flashback. As for D.C., that sets the stage for the theme of the movie and gets us thinking "American government, American history."

It also suggests to me that Ben's family has always lived in Washington D.C., because he, his grandfather, and the OG Gates all did, so why wouldn't Patrick?

The Arctic Circle gets one, because we are dramatically changing times and places.

Washington D.C. doesn't get another chyron when Ben and Riley return there, but a montage of the National Mall over the soaring NatTreas score makes it very clear where we are. The chyrons for the FBI building and the National Archives follow shortly after.

There isn't another chyron until the gang is headed into Philadelphia via the Ben Franklin Bridge, again with recognizable iconography to back it up.

This clearly suggests--to me anyway--that they have not moved out of the D.C. area until now. And the rest of the film language reinforces this. D.C. has been the heist and gala sequences at night; Philadelphia is the Independence Hall sequence in the daytime. The time of day changes, the costumes change, and the objective changes. We've moved from "get the Declaration" to "find the treasure." These all suggest a clear division of the film into segments, and having the team already have traveled to PA in the dark would muddy that otherwise very neat divide.

One last theory

Finally, I think there's one more piece of evidence that Patrick's house is in D.C....I think it's the same house from the beginning of the movie.

Granted, I have no direct evidence for this, but I do have subtext.

Next time?

Oh and if it makes anybody feel better, Patrick's house does get a chyron in Book of Secrets.

These two shots are shown back go back. It would completely go against film conventions to show a chyron for D.C. and then jump to somewhere that is not D.C., therefore Patrick's house is pretty definitively in or around Washington D.C.

Thank you so much for your asks, anon! I hope this was fun, and I'm glad you appreciate my blog. Feel free to send another any time.

Also, I will put the commentary on my radar for future articles!