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ofbreathandflame-archive · 6 months ago

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This is a very long post!

These last couple of months, it’s been interesting to talk about Nesta as a character and how her subsequent characterization is so integral to pointing out the problems in the series. Whether or not you view Nesta to be ‘real’ or ‘good’ character is one thing, and often subjective. Our own personal backgrounds may muddle or influence whether we like these characters or not.

The reason why I think Nesta is an interesting character is because of how she kind of…ruins the story, or the illusion of a story we are given. There are many times in the story where I think SJM could have elaborated on the qualities that she gushes about, but she intentionally chooses not to. For example, if SJM kept Rhysand consistent, I could see him disliking Nesta and wanting to actually hurt her, but have him think about Feyre and her wants and ultimately relent to Feyre’s want. One thing about Tamlin’s abuse that I think was done well was the fact that he genuinely seems broken up by the fact he can’t control his anger, and he feels something akin to guilt, but he doesn’t stop the abuse. It highlights the effect of the victim, not the intention of the abuser. I don’t know if it was intentionally done, but I liked that element of his abuse. I also liked that the dangers that Tamlin are worried about are real – the threat is real. Why? Because I think it proves, to some extent, that we should not justify abuse, even if the abuse seems rational. It proves that in this world, these men should still adhere to the fact of self-control. How can Feyre in a relationship with Tamlin if he can’t regulate his emotions around her?

But then the story does something weird – it embodies Rhysand with these very same qualities. It also recreates Tamlin’s abuse of Feyre with…Nesta – and then justifies it. Nesta arrives in a similar position as Feyre, yet the story goes to great lengths to vilify her for not reaching out; this is a far-cry from how the story (and stans) think about Feyre. (paint scene, fire scene, solstice scene, and hiking scene). We're supposed to sympathize with the decisions being made; so much rides on the fact that the IC are doing this out of the kindness of their heart:

Did Nesta notice the faint glimmer of worry in Amren’s smoky eyes—understand how rare it was? More than that, did Nesta understand that this meeting wasn’t to condemn her, but instead came from a place of concern? Her simmering stare told him she considered this purely an attack.

We're supposed to think about the worry of the Inner Circle and not think about the way they've decided to express their worry. Its similar to this scene that we get with Lucien to Feyre about Tamlin:

“I’ve given him time,” I said. “I can’t stay cooped up in the house forever.” “He knows that—he doesn’t say it, but he knows it. Trust me. You will forgive him if his family’s own slaughter keeps him from being so … liberal with your safety. He’s lost those he cares for too many times. We all have.” Every word was like fuel added to the simmering pit in my gut. “I don’t want to marry a High Lord. I just want to marry him.”“One doesn’t exist without the other. He is what he is. He will always, always seek to protect you, whether you like it or not. Talk to him about it—really talk to him, Feyre. You’ll figure it out.” Our gazes met. A muscle feathered in Lucien’s jaw. “Don’t ask me to pick.” “But you’re deliberately not telling me things.” “He is my High Lord. His word is law. We have this one chance, Feyre, to rebuild and make the world as it should be. I will not begin that new world by breaking his trust. Even if you …”

Lucien is continually asking Feyre to place Tamlin over her own happiness; he is asking her to consider his feelings before she considers his own - partially because this is the way Lucien is characterized to handle Tamlin's abuse himself. Cassian is asking Nesta to consider the Inner Circle's intention over how she feels. Amren and Rhys immediately shame and threaten Nesta - she is valid in her anger. She has interpreted this meeting as an attack...because it was. I think its especially telling that the later scene is asking Nesta to have empathy for Amren who is arguably the most abusive, abrasive, and unproductive person in that entire meeting. The second part of Lucien's monologue end's up being true for Nesta as the Inner Circle end up doing the same thing to control Nesta's behavior -- whether that be by leveraging Elain, outright forcing her, or even the decision to withhold Nesta's power from her -- these echo the exact same plot points we see in MAF with Feyre.

Let’s compare some scenes:

It was worse than a crown, actually. Built into the box were compartments and sleeves and holders, all full of brushes and paints and charcoal and sheets of paper. A traveling painting kit. Red—the red paint inside the glass vial was so bright, the blue as stunning as the eyes of that faerie woman I’d slaughtered— “I thought you might want it to take around the grounds with you. Rather than lug all those bags like you always do.” The brushes were fresh, gleaming—the bristles soft and clean. Looking at that box, at what was inside, felt like examining a crow-picked corpse. I tried to smile. Tried to will some brightness to my eyes. He said, “You don’t like it.” (MAF: Chapter 9)

“You’re going, even if you have to be tied up and hauled there. You will follow Cassian’s lessons, and you will do whatever work Clotho requires in the library.” Nesta blocked out the memory—of the dark depths of that library, the ancient monster that had dwelled there. It had saved them from Hybern’s cronies, yes, but … She refused to think of it. “You will respect her, and the other priestesses in the library,” Feyre said, “and you will never give them a moment’s trouble. Any free time is yours to spend as you wish. In the House.” Hot rage pumped through her, so loud Nesta could barely hear the real fire before which her sister paced. Was glad of the roaring in her head when the sound of wood cracking as it burned was so much like her father’s breaking neck that she couldn’t stand to light a fire in her own home. “You had no right to close up my apartment, to take my things—” (Silver Flames; Chapter 2)

She could barely stand to hear the crack and pop of the wood. Had barely been able to endure it in Feyre’s town house. Snap; crunch. (FAS: Chapter 21)

"He had Enough of the coldness, the sharpness. Enough of the sword-straight spine and razor-sharp stare that had only honed itself these months"

He understood. He really did. It had taken him months—years—after his first battles to readjust. To cope. Hell, he was still reeling from what had happened in that final battle with Hybern, too

Another grin as he lifted the small, wrapped parcel. “Your Solstice present.” “I don’t want one (FAS)

“Nesta forged a new Trove,” Cassian said, reining in his rage at the truth of Azriel’s words. “She could create anything.” He nodded to Rhys. “She could fill our arsenals with weapons that would win us any war.” Briallyn, Koschei, and Beron wouldn’t stand a chance. “Which is why Nesta must not learn about it,” Amren said. Cassian demanded, “What?” Amren’s gray eyes held steady. “She cannot know.” Rhys said, “That seems like a risk. What if, unaware, she creates more?” “What if, in one of her moods,” Amren challenged, “Nesta creates what she pleases just to spite us…’ (SF)

He appealed to Rhys, “You’re all right with this? Because I’m sure as hell not.” “Amren’s order holds,” Rhys said, and for a heartbeat, Cassian hated him. Hated the mistrust and wariness he beheld on Rhys’s face.(SF

“No. She knows the labor will be difficult, but I haven’t told her yet that it might very well claim her life.” Rhys spoke into their minds, as if he couldn’t say it aloud, I haven’t told her that the nightmares that now send me lurching from sleep aren’t ones of the past, but of the future. Cassian squeezed Rhys’s shoulder. “Why won’t you tell her?” Rhys’s throat worked. “Because I can’t bring myself to give her that fear. To take away one bit of the joy in her eyes every time she puts a hand on her belly.” His voice shook. “It is fucking eating me alive, this terror. I keep myself busy, but … there is no one to bargain with for her life, no amount of wealth to buy it, nothing that I can do to save her.

So much is happening here – there’s actually more scenes, but I don’t want to go and find them all. I wanted to include more similarities between Feyre and Nesta (I might make a separate post with all of those). To some extent, I think a lot of these quotes, even without elaboration echo the point I’m about to make. In quote #4, Cassian’s narration berates Nesta for not being integrated into the family and not being happy at Solsitice, but we the audience know that Nesta (1) isn’t being talked to, (2) she can barely stand the sound of the fire, (3) Feyre forced Nesta to come by essentially holding her rent over her head. And there’s just way to many parallels between how Nesta feels at the NC and how Feyre felt at the Spring Court. Nesta is drowning; she tells us that – Rhysand’s subtle anger is something she not only notices, but internalizes. She specifically mentions that she doesn’t take any of Rhysand’s positions because they were pity offerings; he’s only doing it because of Feyre. The story then decides to let him spearhead the conversations around Nesta’s autonomy. In the first quote, Tamlin's overall ignorance regarding Feyre's mental state, and her aversion to things such as the color Red were considered red flags; yet when Nesta has an aversion to fire, when she is neglected and nearly dies the story spends so much time trying to tell the audience that Cassian simply didn't know - it doesn't say anything about him.

But one of the biggest indicators of this ruin of the story is the fact that Amren and Rhys believe that Nesta should not have her power because ““What if, in one of her moods,” Amren challenged, “Nesta creates what she pleases just to spite us?” (Maas). The issue, as consistently reiterated, is a control one. They don’t trust Nesta simply because they cannot control her – that is what is highlighted as the issue in the story. Furthermore, Feyre doesn’t let Nesta know, she defers to a process that she doesn’t have to. She outranks everyone in that room; if she wanted to tell Nesta was rules would stop her – that’s literally been the way Feyre has characterized (see: Wraiths, the HL meeting attacking Beron, Tarquin and the BoB, Mor/Feyre w/ the Suriel), yet in this moment when she disagrees with Rhys – she essentially defers to his command. She simply expresses a subtle wariness and then moves on. Feyre has the power to just tell Nesta is the point that I am making here. It’s Nesta’s power; they forced her to do these tasks, and when she has one moment of autonomy in making the sword – they are argue that Rhys should make himself High King and Cassian, despite his earlier provocations, believes in this. He agrees with it. And even though I am going on this long, wordy analysis, I think a lot of what I am saying is kind of really clear In these quotes even without explaining.

To bring this back, Rhys (and Feyre somewhat) are only excused because the story believes their intentions were good (see quote #7), which conflicts with what we’ve already seen. These are…the exact same justifications we get about Tamlin; he truly believes that by making her safe, he is making her happy – but we know Feyre values truth over safety. And so the story undermines its lessons by not condemning the actions of its characters and instead leans into moralistic reasons. The argument now isn't even that Nesta isn't being abused, but stans and even the story (subtextually) believe that Nesta deserves the abuse - or that it's purely a consequence of her own immaturity, yet this is a far-cry to how Feyre is perceived in similar situations. The story argues that these characters understand that Nesta is not in her right mind - but constantly the story expects her act functionally in the face of her depression, even though the very reason the decided to lock her up is because they all unanimously believed she could not function by herself. She's expected to respond appropriately to their jabs, do missions on their behalf, train, and work at the library with no pay. She cannot leave Velaris without a Chaperone and all of her Chaporene are employed officials who are gone for the entirety of the book. No one ever actually offers to ever take Nesta out to see the town. I am seriously tired, and really concerned with the way Nesta's abuse is talked about.

#anti sjm #anti rhysand #anti acosf #anti feysand #anti sjm: nesta archeron #anti feyre #anti acomaf #anti acotar #anti inner circle #anti sjm: pro nesta archeron #ive honestly got a lot to say abt this and Amarantha too #anti tamlin #tamlin

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vickyvicarious · 2 years ago

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"For your mother's sake."

It hits so hard, on multiple levels. First, what this might mean for her. It's her final effort, the most impactful thing she says after religion, superstition, outright pleading on her knees and crying all fail. She knows that she can't stop him from going, but at the very least she will try her best to protect him as much as she can. She places the crucifix around his neck herself, doesn't just hand it to him.

Did she lose a child to Dracula in the past? Is she seeing echoes of her own son in Jonathan's face? Or perhaps there have been brave young men who tried to fight back against him, who deliberately went to the castle and never returned. Maybe Jonathan is the first person she's met who is actually trying to go there, and while she knows it can only end in his death, the idea of letting anyone go willingly to that evil place is more than she can bear. She's giving up a piece of her own protection. The Count has been sending letters to her husband; he was the one who suggested Jonathan stay here. He knows of her. If she shows any resistance it could mean greater danger for herself, and giving Jonathan her crucifix means losing a powerful totem of self-protection. If he actually listened to her warning, she can probably expect a terrible fate of her own; maybe even just giving him the crucifix alone would be enough to ensure that. But again, whether he reminds her of her own lost son or just because he doesn't know what he's getting himself into, she can't bear to do nothing. She places herself in the role of his mother here. "For my sake," she's saying, "let me do what little I can to save you. Please."

Jonathan is an orphan. We don't know the circumstances of his childhood, but it's possible that he never even knew his mother. (It's my headcanon.) Even if he did, she has been gone for a long time now. And yet these are the words he can't argue with in the end. He was already taking her seriously, and trying to treat her with respect. Her warnings were obviously distressing to him, but there's no way he can actually turn back now. His livelihood depends on this trip, he has no actual evidence to justify leaving, and he also wants so badly to live up to Mr. Hawkins' trust in him. He is already "thinking of his father" (or the closest he has) when he says he has to go to the castle. And yet, the care and fear and love this woman is showing for him hits so hard. I wonder if he is thinking of his actual mother when he accepts the crucifix. Whether the concept of her or an actual memory... Or maybe he too is placing her in the role of his mother here. Maybe, in keeping the crucifix (and not just with him, but around his neck where she placed it, even as he rides away) he is saying yes to that implicit request as well. "I'll let you care for me. I'll accept it gratefully." It's the first motherly care he has probably felt in many long years.

In this book, children are placed in terrible danger again and again, and most of the time they can't be saved. Parents and parental figures are equally doomed, leaving our heroes all orphaned in a sense, unable to rely on any greater source of wisdom or comfort. They have to take things into their own hands and deal with the problem alone, despite still being caught up in grief for what they've lost - a kind of coming of age in that sense. There's even a literal version of this happening with both Arthur and Jonathan (and Mina) specifically, when their father figures die and leave them with sudden new responsibilities. And of course, the inheritances from these father figures help in distinct and immensely useful ways, even as they remain absent from the story throughout. They haunt the margins at best until death steals them away completely, and their illnesses tend to serve to divide our heroes from one another when they needed to be united sooner. I personally don't count van Helsing as a father figure really, but if you do then he is the only one who manages to be around and be directly helpful (and even then, he's unable to save Lucy), even though all the fathers we hear from are loved and loving. But we do actually meet a few mothers, and they are usually unable to alter the story despite being more present. Their efforts to save their children are misdirected and only bring about their own death as well, in the end. Lucy's mother seems to mean well but everything she does directly makes everything harder; the mother at the castle later tries to avenge her child possibly against the wrong person, and in any case is unable to succeed. But here, the innkeeper's wife with her crucifix manages what no other mother does. Even though she assumes this to be another wasted effort (in fact, she can't bear to remain in the room with him afterwards; re: Dracula did such a good job with the hopelessness in her voice when she says the 'mother's sake' line), her assistance helps Jonathan to survive. His 'inheritance' from this momentary mother-figure isn't just the physical crucifix, though that is useful (and also the only inheritance a mother leaves for a child throughout the book, even when it would be expected and easy and make complete sense to do so, ahem). It's also the first and the most knowledgeable and the most effective aid given to a 'child' throughout the entire book.

#dracula daily #re: dracula #dracula daily spoilers #crucifix lady #jonathan harker #dracula meta #my meta

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cheeseanonioncrisps · 9 months ago

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So, fun detail I just noticed about Megamind:

Famously, throughout the film Megamind mispronounces certain words, most notably: "hello" ("olo"), "Metro City" ("Metrocity") and "school" ("shool").

Like many fans, I'd attributed this and other oddities— like not knowing what a window is— to his unconventional upbringing and general social isolation. His speech sounds a lot like the way people pronounce words that they've only seen written down, so maybe he just hasn't had enough practice talking to other people out loud.

Lovely theory, very angsty, makes sense that this would be what the film-makers intended.

Except…

You know who doesn't seem to have this problem with pronunciation? And who in fact attempts to correct Megamind's pronunciation of various words more than any other character?

Fucking Minion.

Minion was there for literally every step of Megamind's childhood. They were raised on Earth together and went through seemingly the exact same experiences. Yet somehow Minion came out the other end knowing how to answer the phone and what a window is and why people use codes, while Megamind didn't.

And I am just so fascinated as to why.

Top three theories:

1. Megamind isn't actually mispronouncing words due to lack of practice, but rather for some other reason.

Maybe there's something up with his ability to hear certain sounds, or his alien anatomy makes it harder to pronounce them. Maybe he's neurodivergent (I mean, he definitely is, but maybe that fact is affecting his speech).

2. Megamind is mispronouncing things due to lack of practice, but there's something about Minion that makes him need less practice to pick up new languages.

Possibly as part of their protective role, his species has advanced language acquisition programmed in so they can act as translators. Else, while Minion and Megamind landed on Earth together, it's not 100% clear whether they were actually at the same age/developmental stage when that happened. If Minion was an adult (or older child) when he became fluent in English, he might have consciously focused more on accurate pronunciation than Megamind did.

3. Megamind is mispronouncing things due to lack of practice, but Minion is getting more practice than him.

This is… honestly the theory with the most evidence behind it. Like, we know that Minion isn't in jail at the start of the film, so he's clearly mot spending the same amount of time in solitary confinement that Megamind is.

He also appears to be in charge of providing Megamind with the resources needed to carry out his plans, which would presumably require him to communicate with scrap merchants, crocodile breeders and Romanian outlet store owners (among others) on the regular.

And like… if he's not getting thrown in jail whenever Megamind does, and Megamind is spending a fair amount of time on the inside, then Minion has to be doing something to pass the time. He's clearly a bit of an extrovert, and seems to take more pleasure in interacting with people than Megamind does.

It seems unlikely that he'd spend all his time sitting in the Evil Lair waiting for Megamind contact him or escape. So what does he do?

I find it both sweet and hilarious to imagine that Minion actually does have his own social circle outside of Megamind.

Minion goes to DnD on the second Tuesday of every month.

Minion gets advice on making costumes for Megamind from his weekly sewing circle.

Minion has been going to university online for the past eight years and is currently working towards his PhD in Marine Biology.

Minion is a semi-regular at Metrocity Night Clubs.

Minion does volunteer work sometimes with kids at the Metrocity hospital.

Megamind has barely any idea about any of this. Like, he knows Minion goes places at various times.

He knows that when he's rampaging through the streets Minion will sometimes stop to wave hello to various people that Megamind has never met. He's seen the half-orc paladin costume that Minion made for DnD.

But he's never really asked about it, and Minion has never seen the need to tell him. So long as Minion's happy, Megamind's happy, and so long as Megamind's happy, Minion is happy.

Meanwhile Roxanna, post-movie, has to grapple with the fact that sometimes she'll go to visit her boyfriend only for him to ask if they can go out for dinner instead because Minion's book club is meeting in the Evil Lair, and he's been gently encouraged not to come back after what he said to Helen about her (wrong) opinions on To Kill A Mockingbird.

#megamind #minion #roxanne ritchi #megamind headcanons #megamind meta

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bokettochild · 11 months ago

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Okay, so, working on a fic here, but does anyone remember when JoJo posted Shady Escape Part 4? The arc where the shadow first smushed Wind and opened a portal in front of them?

Well JoJo posted this with the comic

This would mean that prior to this point the Links have been in the same world the whole time (and the portals are apparently not portals, but "gates"!) and since Shady Escape, they've only traveled to one other era, the one we're still in in the Dawn arc.

Jojo originally never meant this story to be an actual story, just quick AU comics and sketches

So I understand that things are still a bit unclear as she shifts from having random ideas to having to create a cohesive plot, and honestly she's been doing a fantastic job of setting the stage for us and slowly introducing concepts, characters and other important pieces of the story, but it does leave us with one major question: do the original doodles count as cannon?

The Malon Arc, the Chain meeting Ravio, these things would have required the boys to shift worlds previously, or be in either Time or Legend's eras in order for them to have happened. They haven't been to both though. Thus far, they've been to two different eras, the second being one where none of them knew where they are, and it's only the conversation between Twilight and Four in Divine Dark Reflections that tells us they are even aware of the fact that they're traveling through time!

So, this would mean that anything that has to do with them being in any hero specific era until now has not yet happened! Other than perhaps Time's era, which is only supported by this panel from Deep Shadows part 2

Time knows the woods they're in, so his recognition would indicate that this is most likely his era. So, maybe they've met Malon at this point in the story, but that means anything else (Linkle, Ravio, anything fro the others' eras) hasn't yet happened, and considering the fact that the Malon arc isn't included with the rest of the official story, but instead with the early doodles, we can't even be certain that it has happened yet.

All this to say, fic writers technically have free reign with what they want to boys to know about the other eras, and who they want the to know about (other than the Ordonian people, who Twilight apparently can't shut up about lol). That, and, we have no clue whether JoJo is going to rehash old comics or cut them entirely from the story cannon.

#linked universe #linkeduniverse #linked universe timeline #ketto's analyses

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pseudophan · 10 months ago

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some post wad weekend thoughts...

i just wrote all this on the plane and haven't read it through so apologies for any mistakes

first of all, this weekend was incredible. i usually just kinda sit at home doing not much of anything, and this was a much needed break to actually have some fun. london in general always lifts my spirits but i suppose that danisnotonfire guy contributed a little as well.

guys i think i've met more people the past few days than i otherwise have in years. like. holy shit. i started listing people but i'm petrified i'll forget someone so i chickened out, sorry about that. but you all know who you are. i've met friends i've had for years, people i used to know but haven't spoken to in what feels like a decade, newer friends, and a frankly baffling amount of people i didn't know yet but who told me they've followed me for ages. like holy fuck you guys lmao what the hell??? and i mean did the reaction ever get old no of course it didn't. bad for my ego i'm sure but totally worth it. there's something very amusing and incredibly surreal about being chronically lame in most aspects of life and then suddenly finding yourself in an environment where you're kinda cool???? SO fucking fun oh my god, but also i do kinda feel like i've tricked you all? but hey i'll happily let you keep believing i'm cool, that is more than fine with me.

most importantly though everyone was SO lovely. like i said i don't think i've spoken to this many people in such a short amount of time in years and every single person i talked to was awesome. guys did you know phannies are kind of great... don't tell anyone but, lowkey... everyone is so funny and cool and absolutely insane but in a good way (shoutout everyone left at the gates until the very end, we should probably get some help).

and then lastly of course, mr howell himself. i talk about this a lot i feel like but fuck me that man was born to perform. whether you think he's actually funny or not, nobody can argue he doesn't absolutely thrive on a stage. he plays off the audience so well and he's so very obviously having the time of his fucking life. i'd already seen the show twice before this, and i didn't think anything would top the previous london show but man... the first night he came back out after the show having clearly been tearing up backstage, apologising for being an inconsistent absent parent, and i can't lie the "i had daddy issues and THEN i subscribed to dan howell" got me cause yeah no literally dude, you nailed it, exactly, well done. i think something about doing this show again, his magnum opus as he considers it, now after the dapg return was very special to him. he seems genuinely surprised that so many of us were ready to just jump back in like nothing happened, i don't think he was expecting so many people to still be waiting and it's... man. he comes off so grateful for us all and it's so fucking sweet. and then on the last night, i think that was my favourite, when the show ended and he got the standing ovation and people throwing him flowers.. he was so HAPPY. and clearly overwhelmed with emotion which, i gotta say, there is something honestly kinda funny about daniel howell standing in front of you trying not to cry. like no by all means dude go ahead, please, you've made me cry an endless amount of times it's only fair.

ugh. i'm proud of him or whatever. dick. and i'm proud of our ridiculous fucking community. i'm not sure what 14 year old nora would say if you'd told me i'd still be kicking it in the phandom a decade on, but at almost 25 (fml) i'm so so happy to be here still. you know, we get a bad rep, but i genuinely think as far as fanbases go we're pretty solid. and i love you all so much.

i believe i will have to rob a bank or something because the next time dan and/or phil do a tour i think i'll have to just show up at every date like i'm sorry but this was too good of a high we need to do it again immediately

anyway. back to work 💪

(by which i mean giffing dan and phil. i am still very much unemployed. fr though i'm two whole videos behind this has never happened i feel weird. who am i)

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pokeberry5 · 1 year ago

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i'm not really sure what the main thrust of this post is, but this yj98 arc has been haunting me literally since I read it months ago, so I've put together a brief(ish) overview of the salient points and the questions it's left me with

aka

that time young justice was sent to a literal intergalactic war front

aka

young justice has even more complex ptsd than you probably thought!!

yj98 #35

the premise is that there's a global war against imperiex, spearheaded by president (blech) luthor. as minors, they can't be drafted into it

(i hunted around and apparently Our Worlds at War, with Imperiex as the big bad, is the broader context, which i didn't feel like reading for this)

instead, they're going to be attached to a "sort of super medical unit" called the "paradocs"

the way they're persuaded to accept their role (instead of?? fighting on the front lines?? jeez kon) is to conceive of themselves as saving active-combat superheroes for their children they're leaving at home (creating an implicit distinction between those children and themselves, which i find sad)

yj is specifically a "search and rescue team"

with a civilian cissie king-jones as their qualified emergency medical technician (so her public persona is an olympic champion, actress, and volunteer veteran of an intergalactic war???)

is cissie the only one performing medical services then? do any of the others pick anything up from her, if these missions last long enough? (do tim and cissie bond as the only non-powered people they know going into a space war?)

yj98 #36

they've run "a couple" successful missions behind enemy lines: what does this mean for the duration of this role?

(i'm not sure if reading Our Worlds at War would help determine how long this all lasted, but if someone who has read it has answers, i'd love to know)

also, were they in space the whole time or going back in between? (i also really really want to know what batman thinks of his protégé being part of a space war. related, did cassie tell her mom??)

---

Superboy Vol 4 #91: War Letters gives some context to this

(kon putting on a brave face!!)

but also:

even as paramedics they were participating in active combat, fighting off scavengers

the lack of specifics, the mention of the fact that he's met "a lot of interesting cats in the field," and of "things" he's seen—there's a sense that he's seen a lot but not enough yet for it to no longer be shocking. or, that what they're seeing is so savage that it never ceases to be shocking.

this also implies that they've met and rescued a slew of people from across the universe. does yj have intergalactic connections? do random alien soldiers remember this small group of earth children that saved them?

this panel also shows kon (and likely the rest of them) amidst recovering jl members. what does the broader jl think of this group of kids in an acknowledged war zone, seeing them beaten down like this? (it's unclear whether kon actually went and rescued kyle rayner here or is just helping him around the medical area, but there must be some sort of lasting impression from this)

they get diverged from their rescue mission and end up on apokolips

bart experiences death when one of his "scouts" is killed—this has a lasting impression on him (addressed later) and kon blames himself, since it was his decision to chase after steel that landed them here. do the two of them ever talk about this? (they don't in yj at least)

---

yj98 #36 contd.

kon's accusation shows that this arc happened right after the drama between batman and the jla during tower of babel (the secret contingency plan drama)

and after batman's betrayal of tim's identity to spoiler (rip tim being betrayed on multiple fronts)

(tim putting on a strong front :'))

i find it interesting that tim considers his state "a world of grays" in contrast to kon's "black and white" attitude. balancing a multitude of considerations is a "world of grays?" anyway, tim staring death in the face and admitting he's scared :')

and then tim gets to watch lil lobo die (he does technically come back but!) and says explicitly that another part of innocence he didn't know he had died with lobo. this can't be his first time witnessing a death given gotham's everything, so is it because this is the first time he's watched a comrade die (and so brutally too)?

yj98 #37

and then! we get extended(?) mental torture on apokolips, enough to drive to tim to attempted homicide (both in the dream world and out of it)

(he was made to watch kon and cassie get murdered brutally in front of him jsyk)

and once he's out:

(does this ever haunt tim? that he almost broke batman's one rule? also parallels with dick beating the joker to death later on tim's behalf)

yj98 #38

the fallout:

we see that after experiencing his scout's death on apokolips, bart's been left with a fear of death strong enough to get him to leave yj (i don't actually know how this gets resolved?? it must happen in his solo bc he just sort of reappears a few mini arcs later...)

("i quit for a bunch of reasons ... but not a single one of them had to do with being afraid i'd get killed," cissie you're sooooo well-adjusted. she doesn't think bart's valid rip)

this is the moment where tim quits yj because he can't deal with their lack of trust (oof) and because“i don’t need the grief of young justice,” referring to everything else going on in tim's life (batman betraying his identity to spoiler)

(he'll lose them later on anyway—does it haunt him that he came back?)

(it's sweet that kon has someone he feels he can talk to and ask advice from)

i'm not sure if tim ever gets that apology

tldr: i kind of want one or more of yj to end up as a paramedic

#also i lied it's not brief #dc #yj #yj98 #tim drake #conner kent #cissie king jones #cassie sandsmark #anita fite #greta hayes #lil lobo #red talks #also this is def biased in its focus on tim but hes my favorite what can you do

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jedi-enthusiast · 10 months ago

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Similar Stories, Different Treatments: Anakin Skywalker and Abijah Fowler

Ok, so recently I've been re-watching 'Blue Eye Samauri' on Netflix and last night it dawned on me that, generally speaking, Abijah Fowler and Anakin Skywalker have very similar stories and actions...and yet their respective fandoms react to the two of them very differently.

So, here's my long ass post analyzing the two of them and why people react to them so differently.

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First, comparing the two characters...

So, assuming that y'all know me for my Star Wars content, you probably know Anakin's story but, for the sake of this post, I'll explain it briefly.

Anakin was born into slavery and lived as a slave for 9 years. Then one day he and his mother met two Jedi and a handmaiden, and his mother asked the Jedi to take Anakin and train him---which they agreed to do, so Anakin had to leave his mother. At 19 he had nightmares about and then witnessed his mother's death when he went back to Tatooine before being promptly drafted into war along with the rest of the Jedi by the Senate. After a harrowing 3 years of war and having his worst behaviors enabled/encouraged by the villain and his wife, Anakin begins to have nightmares about his pregnant wife dying. He then tries to prevent her dying, even though she's in perfect health.

We know a little less about Abijah Fowler's past, but we do know an integral part of it from this monologue:

"My country's history is one of manufactured suffering. I was a boy when the Tudors burned any food the rebels under O'Neill might think to eat. We starved. Everyone starved. Mouths on the dead stained green from chewing nettles---you get resourceful in a famine. My parents died early, left me and my sister catching rats. The rats ran out quick. Fed my sister on my blood, it kept her alive an extra two weeks. I didn't sleep for three days to protect her body from the starving 'til the ground thawed. I cut out her kidneys and buried her, fat cap on them like a pea. I haven't eaten a single meal since my mind didn't go to that bite. It was the last thing I ever did because I had to. I control my life now, every bite."

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From my point of view, Anakin and Abijah are very similar in their motivations.

Both of them started out as, assumedly, sweet and kind and caring young boys. You don't harm yourself to feed your sister and then cause more harm to yourself to protect her after she's already dead, if you're not. Similarly, you don't bring three complete strangers into your home because you're worried about them and then risk your life to help them, if you're not.

Both of them then went through great tragedies and likely felt completely powerless because of these tragedies and the circumstances they found themselves in.

For Abijah it was growing up during a famine, witnessing the horrors of famine and what people had to do during it, witnessing the deaths of his parents, being unable to stop the death of his sister, and being forced into cannibalism---of his sister and likely parents, no less---to prevent himself from starving. For Anakin it was growing up as a slave, having to leave his mother at a young age, witnessing his mother's death, and then being thrust into a war and witnessing the horrors of that.

Because of that powerlessness, both Anakin and Abijah hate the idea of them being powerless and their actions are made from a mix of anger at whoever they blame for what has happened---whether they're actually to blame, or whether they've done nothing---and refusal to ever be powerless again, or at least accept that they're powerless.

These motivations led them both to commit- (Anakin) -or attempt to commit- (Abijah) -mass murder, *genocide, **cultural genocide, and murder of their female main character counterpart.

*Abijah wasn't necessarily setting out to commit physical genocide, but he was willing to do so if the people of Japan weren't willing to go along with his plans.

**I do consider Abijah's plans as including cultural genocide, since he has a whole monologue about the people of Japan being "godless" and how he'd force them into Christianity- (Catholicism?) -if he succeeded in killing the Shogunate.

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Now, comparing fandom's reaction to the two...

For Anakin, he succeeds in causing Padme's death, destroying the Republic aka the only democracy in the galaxy, committing cultural and physical genocide against the Jedi, murdering an entire village of Tuskens including the children, and going on to oppress and enslave the rest of the galaxy for decades...

...in contrast, Abijah only succeeds in committing mass murder and fails in all of his other plans---and his success in committing mass murder is partially due to the Shogun's sons and wife locking people inside the burning palace.

But, despite all of this, if you look into how their respective fandoms treat them, you'd assume that it was the opposite.

Anakin is lifted up as this good person who had no agency in any of his actions or, if he did, then the people he murdered "deserved it"---he's loved by most of the fandom and everywhere you look you see think pieces about how Anakin was really a victim, how his actions were justified, how he's not to blame for anything.

Meanwhile Abijah is hated and his actions are labeled by the fandom as bad. He's a terrible person and he's seen as such. I've never seen a single post justifying his actions or trying to say he isn't to blame for his actions.

Now, this is not me saying that the Blue Eye Samauri fandom is wrong to view Abijah this way---on the contrary, I agree that his actions are heinous and he's a terrible person, there's nothing there that I don't agree with.

However, I do think it's interesting how differently both characters are treated when one of them is, unequivocally, worse than the other.

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Why is this?

Now, I'm going to preface this section with the disclaimer that part of it is because Anakin is the main character of his media and Abijah is not---however, I believe that this has a very small effect on how fandom treats them since, as we've seen with other characters, screentime doesn't really matter that much when it comes to whether fandom likes a character or not.

Moving on-

-----

I think a lot of it is just that Anakin is conventionally attractive and Abijah isn't.

Anakin and Abijah are both selfish, misogynistic, racist, have violent responses to most things, and have committed atrocities in the name of personal gain. The only difference between them---besides the obvious differences that come with the medias they're in---is that Anakin is pretty to look at and Abijah isn't.

It'd be even worse if Abijah was a POC or a woman, even if he was conventionally attractive---as proven by other Star Wars characters.

Mace Windu? Fandom hates him and makes him out to be a villain.

Saw Gerrera? Same thing.

Rey Skywalker? People hate her and say she's "unrealistic" or "too OP."

Reva Sevander? People fucking CRUCIFIED her!

None of these people even come near Anakin's level of "I'm a terrible person and I do heinous things because why not!" Mace and Rey never did anything wrong, and Saw and Reva did the things they did because of trauma/revenge and/or working to take down a greater evil---and even then, neither of them do anything near as bad as Anakin!

Yet they're hated and held to a higher standard and crucified in a way that Anakin isn't.

-----

Another reason is that people can project onto Anakin in a way they can't project onto Abijah.

With Anakin, they can twist the Jedi's actions to fit whatever trauma they personally relate to, they can shove characters like Obi-Wan, Ahsoka, Mace, Yoda, etc. into whatever archetype they want to fit their story, they can excuse away every atrocity Anakin commits because he's doing it out of attachment and they think attachment means love, etc.

Meanwhile it's hard for people to project onto Abijah because everything and everyone around him is harder to change to fit his narrative.

There's no one really around him that you can say manipulated, abused, or otherwise forced him into doing the things he did. The other characters don't really interact with him, so people can't say the characters "deserved" what he did to them. And he openly admits that he's doing things out of greed, whereas Anakin says he's doing things out of love when he's really not.

----------

In conclusion, Abijah Fowler and Anakin Skywalker are both people that experienced tragedy and became terrible people that did heinous things because of it---but people only justify one of their actions because they think he's pretty and project onto him.

They're the same person in different medias 🤷‍♀️

#fandom meta #star wars #sw prequels #blue eye samurai #anakin skywalker critical #anti anakin apologists #abijah fowler

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fizzingwizard · 9 months ago

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Why I like Cats (the musical) 2024 version

Cats the Musical's smash success in the 80s stunned everyone, including those who made it. But despite the critics claiming it's baffling and has no plot, it was popular anyway. And remained popular. For years.

"But why?" shriek the naysayers even now, decades later, in broad daylight, because they've never met a real Cats fan, and frankly don't believe they exist, and the massive audiences of yore which attended the shows in London, New York, Tokyo etc were paid actors contributing to the farce that is Cats the Musical. Or maybe they assume every furry dutifully attends every performance of Cats as some kind of furry confirmation ritual.

Now that we've seen the Hooperian nightmare that is Cats 2019, internationally recognized as a pre-pandemic harbinger of doom and torment, making fun of Cats is more fun than ever.

But no pedantic Youtube critic will ever pry Cats (THE MUSICAL) out of my fierce, feline clutches! No! I won't let you! Not even you, Tom Hooper! You don't need opposable thumbs to be irrationally devoted to old-ass musicals from the 80s!

Anyway here's why I like Cats (the musical)!

Wicked whimsical fun times!!

Cats is the fun uncle at the family New Year's party. He's young, he's confusingly hot-yet-not, he gets around, he always smells faintly of weed. He's down for anything and somehow gives off chill vibes while also exuding the barely restrained energy of an ostrich mating dance. He doesn't have a job. No one knows what he does on a regular, non-party day. Maybe he just... ceases to exist. You like him, without knowing or caring whether there's anything about him to like.

A celebration of dance!!

Tap, jazz modern ballet, gymnastics! There's even a trapeze! Cats has it all... as long as it was popular among white audiences in the 80s, anyway. Attempts to diversify have been hit and miss. But since many of the dance styles have fallen out of popularity, it's refreshing, in a way, to go to a Cats show and see a guy in an orange unitard tap dancing passionately. Like teleporting into a bygone age of the catpeople. Heck, even in the clusterfuck that was the 2019 movie, Skimbleshanks stole the show.

Jokes aside, the loose story structure isn't just because no one on staff knew how to plot anything, it highlights the performances themselves: dance and music are central to Cats, which is part of why making a film version is so damn hard. You can't just say no thanks to the choreography or interrupt the songs for dumb bratty quips (Hooper!!). That's what this musical is.

Yes, they are cats, and it's cool, not freaky. (But also freaky)

The costumes and makeup are for a stage show. They're overdone on purpose to have an impact from far away. It's due to that distance that the actors can seem pleasantly cat-like without appearing like they're doing this under hypnosis. That's another reason why translating Cats to a live action movie is kinda doomed to fail. With movies you're too up close. Welcome to the Uncanny Valley, hope you survive your stay!

The costumes are also very 80s. They have changed... but not all that much. If you know glam metal and punk rock then you probably cotton on to the references and why a lot of the old pictures look like a hair band's photo shoots. Young fans may not be aware of those roots and just accept the wigs and the color schemes and the setting as a whim. But the truth is undeniable. The 80s live on!

Much of the dance is choreographed to reflect feline, seemless movement. The actors spend their down time on stage mimicking relaxed cat behaviors, including the cute and clumsy ones that made Youtube rich. But they don't forget that they are actually humans any more than the audience does, or that getting too into it would be pretty weird. How well it works for you probably has a lot to do with whether or not you like Cats the musical. It's not supposed to be realistic or freaky. Just evocative and atmospheric.

Except the orgy. That simply Is. Sex through ballet. In unitards.

The stage!

The stage is a huge draw for seeing Cats live. There's so much detail and fun things to spot. It's a junkyard! Cats pop out of the strangest places! Honestly it's so impressive that it makes the way Old Deut magically reappears under a blanket rather more noticeably lackluster... (I did really enjoy the way the Broadway revival revamped that bit with the dark and the hand-held light dance)

You've seen it once, you've seen it twice, you still haven't seen it

The legend of Cats is that no two performances are the same. You can go to the same theater with the same cast night after night and spot subtle changes. Because the characters aren't that important overall, there aren't real relationships to interrupt by letting someone be friends with someone else in one show, and ignore each other in another. The most fun comes with watching the actors not currently center stage, who can do whatever they want. They're always moving, darting here and there, interacting with each other in an unobstrusive way. It's like a treasure hunt to work out whch cats are friends, which are rivals, who has a crush on who, heck, who's a grown cat and who's still a kitten, depending on the performance. I love this pliable approach, it gives the play a sense of living and changing.

Electric guitar!!!

Like, it's par for the course these days. Nothing unusual. Even so, I always lose my shit at that electric guitar!!!!!!!!!!!!!!!!

There IS a story!! There is!!

It's just not the most important part. Or even the second most important. Possibly not even the third most... yeah.

One thing worth noting is that the vibe of the musical has changed a lot of over the years. Most versions in the US and UK still retain some of the original grungy, gritty, patchwork aesthetic. A lot of it has been cleaned up and polished. The Japanese version (the only non-English version I've seen live) is almost like a Disney story imo. But thanks to the costumes, characters, and stage setting, it feels less like the 80s have gone than the 80s have been reinterpreted into modern preferences. I really enjoyed the 2016 Broadway revival for example, although I know some fans didn't.

All that to say the story which we fans have more or less pieced together ourselves has evolved over the years, and isn't super official. But it is regular. Hooper's movie doesn't get credit for giving Cats a plot, it already had one, just told in a not especially coherent way. That incoherence, despite being panned by everyone and especially their dog, I think is one of the best parts of Cats. You get to leave the show feeling like you missed nothing, then see it again and notice something new, and then leave feeling like you missed nothing. Rinse and repeat. The perfect show =)

Now about that plot.

The Jellicle Cats assemble once a year to have an orgy a ball. They're so happy to see each other and they just have so much to catch up, plus the kittens only opened their eyes like last week so they need a whole run-down of who all these older guys are. We meet the maternal cat, the storyteller cat, the railway cat, the twin thief cats, the excitable cat, the magical cat, the Jagger cat. They're all kind of sort of in competition to win a new life (cats have nine you know) by being chosen to go to the Heavyside Layer. Not that they compete - they all just want, vaguely, with a sort of existential soul-deep yearning for something too ineffable to define. This contrast of the transient with the permanent, the fleeting with the eternal, is introduced early in the show, when the cats tell us they have two names: a name they're called by on a daily basis, and a secret name that is wholly and uniquely their own. These themes continue throughout scenes of the actors grooming each other's fur and panting in bisexual lust due to sexy Tugger's sexy hip thrusts. It's deep bro. Gets me right here, bro.

Meanwhile there's an outcast called Macavity who is Bad, but most of the sightings of him are false alarms. He doesn't show up properly till near the end of the second act and there's a whole cat fight, it's awesome, I love picking out which cats stay to fight and which run away. He abducts Old Deut, the patriarch, and the only chance the cats have to get him back is Mister Mistoffelees, who depending on the performance is kind of clumsy and insecure, or really effing amazeballs at magic. I prefer the first because it makes more sense why Rum Tum Tugger sings his song for him (old versions have Mister Mistoffelees singing at least part of his song). Then Old Deut's back and now it's time for the Heavyside Layer!

Meanwhile meanwhile, there's Grizabella, who is haunting the Jellicle Ball with much more tangible yearning. She's washed up, a has-been. She can't dance anymore. No one trusts her. Why? Idk, people are just like that. The other cats fear Macavity, who represents destruction and chaos, but they look down on Grizabella, who is failure and regret and mortality. For whom all the broken dreams could be forgotten if she could join just one more dance. Defeating Macavity isn't the Jellicles ultimate test - accepting Grizabella is.

ETA: I feel like I didn't quite get across why this is so important. The show spends so much time building up our dread of Macavity, but sightings of Grizabella leave us feeling wrong-footed and uncomfortable. And the reason is: Macavity is destruction, but Grizabella is destroyed. A grizzled beauty - someone with no more life left in them. She's a vision of a grim future which the Jellicles want to reject. She's been made small and weak and pathetic. So they blame her for her situation, because then they can go on with their ball without all that discomfort. And they don't just decide to redeem her in the end - first, Grizabella has to sing "Memory." Grizabella needs to tell the Jellicles "There was a time before I experienced destruction too, when I didn't know how happy I was." The only thing which keeps that spark in her alive is the memory of it, and it's that which makes her the chosen candidate to go the Heavyside Layer. A threat like Macavity, while very scary, is mortal and temporary. But Grizabella's ability to look back on her life and find the happiness in it, and reach out to the others while on death's door, despite the risk of harsh rejection, speaks to something eternal. And the Jellicles have a choice whether they will show acceptance for that full course of life.

Then up she goes via the Stairway to Heaven and who knows what happens to her after that. Idgaf really, ask the Everlasting Cat. And then we sing a song about how great cats are because it's true. I mean come on. Shakespeare would write this.

Um wait up... plot holes???

Wait - why did Macavity kidnap Old Deut in the first place though? This is pretty unexplored backstory. Generally fans assume Macavity torments the Jellicles on the regular, and that he did something to Demeter in the past, which is why she's often depicted as the most skittish when he's mentioned. He's a bad egg - his song details enough - and also he's got his paws in the community, thanks to Griddlebone and Mungojerrie.

OK, so not knowing what his motivation is, as well as not knowing why Mungojerrie, who is fairly lovable despite being a thief, is involved with him, is kind of a big plot hole. It'd be nice to know that right? It'd be nice to know what happened to Grizabella - did she leave the Jellicles by choice, did she shun and reject them before she went off on her own? What did these characters do leading up to the events of the show?

This is what defines the True Cats Fan. The True Cats Fan not only doesn't know the official answers to these questions (there aren't any, shut up Hooper), but PREFERS them that way. Number one, it turns the show into a single evening suspended in time. We are voyeurs - guests come to witness the holy day of the catpeople. We are foreigners. We don't understand everything we see because we are not one of them. "What's a Jellicle Cat?" The cats are stunned that we don't know, but can't explain it to us in full either. A Jellicle Cat doesn't need it explain. They always know. So the story is what it is, you know what you know, and what you don't, well, it's not inconsequential, but it is for tomorrow. And tomorrow isn't today, that's the thing.

Number two is that the True Cats Fan doesn't want these questions answered because... we'd rather answer them ourselves!

LAST. The fan lore rocks!

Cats is just so much fun to fan girl in. Because the canon is so whatever, we can come up with our own ideas about backstory and relationships, and when we go to the next show, it's gleeful fun to see what elements of pure director's whim support our fan theories. If you're not interested in headcanons or fan theories you can leave now, here's your certificate, now you know what Cats fans love about the musical Cats. If you're a true freak, read on!

A lot of these are influenced by the 1998 DVD because that was the most accessible way to watch Cats (the musical). But the best ones have roots in any show canon, or extrapolate from like, a single lyric. Making sense of the nonsense without committing to getting rid of the nonsense, because we love nonsense. Also these DON'T all go together, they are independent headcanons, otherwise some of them would be really Not Good hahaha.

OK, so Old Deut is everyone'd dad. BUT, he's particularly dad of Munkustrap, Macavity, and Rum Tum Tugger. Sometimes in that order, sometimes not. This is hilarious to me. I love the idea that Munk and Tugger are brothers and that's why they drive each other batty. And who doesn't love a secret third brother who is als evil, or prodigal son who kidnaps his own father?

Demeter was Macavity's girlfriend before he got kicked out, or sometimes she went with him and came back once she realized he lost his marbles. She's been traumatized by him and that trauma is even choreographed or her. There's behind the scenes video, I think it's from the 1998 DVD, where they explain that, so it's rather more than a theory. She often has a role in the fight scene - an actual fighting role, rather than a cowering one. Now Demeter is Munkustrap's mate, which, if you accept the "Munkustrap/Tugger/Macavity are brothers" theory, makes for all kinds of juicy drama.

Victoria is Plato's girlfriend. Victoria is Mistoffelees's sister. Victoria is Mistoffelees's girlfriend. Victoria is Munkustrap's girlfriend??? Take your pick lol.

Victoria can't speak and/or is deaf and that's why she communicates through dancing.

Demeter and Bombalurina are sisters

Sillabub/Jemima is Munkustrap's daughter (ok...).

Munkustrap is the Jellicle leader of sorts. Old Deut is the real leader, but he's old y'know. And Munkustrap is kinda sorta his son. But Munk doesn't do a lot of leaderly things. He disciplines sometimes and controls the kittens, and he fights in the battle scene. But mostly he sings songs and tells stories. So there's a headcanon that Munk has reservations about being Old Deut's successor and wishes he could just tell stories all the time. So wholesome...

Rum Tum Tugger is a bi disaster and Mister Mistoffelees is his twink boyfriend. Gay cats, they're gay, it's theater, it's a show about cats with a cat orgy, did you really expect different? Now although I make fun I am into it. Tugger, brash and vain yet insecure, and Mistoffelees, insecure with inner pride. In some shows older cats like Skimbleshanks and Gus will be shown trying to lead Mistoffelees away from Rum Tum Tugger during his song, as if concerned by their promising, talented young friend's interest in the local Bad Boy. Mistoffelees's real talent humbles Tugger, and Tugger's audaciousness enables Mistoffelees to take risks. Thus the day is saved! Tugger and Mistoffelees weren't always a set on stage - it could be Mistoffelees and Munkustrap as the two leads, or why Tugger sings Mistoffelees's song would just go without explanation. But these days it's a popular enough duo that it's become fairly regular. And the 2016 actors put Tugger/Misto fan art on the wall in their dressing room therefore it is Canon.

Skimbleshanks and Jennyanydots are a couple, inspired by the way he teases her during the Gumbie Cat song

Skimbleshanks is a DILF

Grizabella was Old Deut's girlfriend x'D or is Macavity's mother or something. Personally I don't need this theory lol we've already got enough overlapping relationships to write twelve soap operas so.

Cats with collars are house cats, cats without are strays. Not super reliable but fun to think about.

Some cats aren't named, or have different names depending on the country or decade. These cats can have some really, really dedicated fans whose personal headcanons about these completely undeveloped characters are ironclad.

Asparagus and Gus are father and son. This is to explain why the actor who plays Asparagus is always around, and called Gus/Asparagus, and then for Theater Cat and Growltiger he seems much older but is still called Gus. It's the same actor in slightly different costumes but fans just pretend there's two characters to explain it.

Same thing with Admetus/Plato, who doubles as Macavity in the 1998 DVD, and in many stage performances as well. Macavity is Plato's evil alter ego, but he's in love with Victoria so he doesn't want anyone to know. Or he's not even aware that he is Macavity. A Jekyll and Hyde sort of deal.

Mistoffelees is Macavity's son and that's why he can do magic. (Ergo why Macavity can make Old Deut disappear and Mistoffelees can make him reappear).

Alonzo was Munkustrap's gay fling in college so to speak. Or Alonzo is Munkustrap's half-brother

Coricopat and Tantomile are psychic twins (almost canon) and coach Sillabub/Jemima because she sings really pretty when she's in a trance and seems to Know Ineffable Stuff. In fanfics they're often depicted as not liking Mungojerrie and Rumpleteazer, which is kinda funny because I guess I would have thought twins on twins would have been The Thing, lol.

Griddlebone was Gus's wife and sometimes Jellylorum's mom. She's evil, independently of Macavity, but also in cahoots with him because song lyrics. ETA: Also that she's Grizabella when she was young!

There's a cat just called George who everyone loves. He's an ensemble cat with no particulars. Love George. Worship George.

Look there's like ninety seven thousand characters in Cats (the Musical) and three times as many headcanons. I'm leaving a lot out but I can't remember any more right now and I gotta go make dinner.

#cats musical #cats the musical

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konnorhasapen · 2 years ago

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I FORGOT NOW THAT IM ON TUMBLR WITH OTHER PEOPLE WHO SHARE MY HYPERFIXATION I CAN TALK ENDLESSLY ABOUT THIS SHIT WITHOUT HAVING TO SHRINK IN ON MYSELF WHEN I REALIZE NO ONE IS ACTUALLY LISTENING/ACTUALLY CARES ABOUT WHAT IM TALKING SO PASSIONATELY ABOUT-

Okay- so- I am a firm believer that Sam was absolutely right (back in the audio where Darlin' and Sam had just been informed that Quinn's work had been spotted out in the open-) when he mentioned that the body that was found could've very well been bait for Darlin'. I 100% believe it was meant to be bait for them. Like,,, as much as I parade around screaming about how stinky and stupid dumb-dumb Little Orphan Quinnie is, I know for a fact that he's not actually that much of an idiot. That being said, he definitely knows about the blood bond, and that body being dropped was basically him saying "I know we're connected, so come and get me." He's absolutely smarter than we all want him to be- I mean, he's a 50y/o vamp who was turned by old blood, we're kinda forced to give credit where it's due. We heard back in Sam's first audio that Quinn tends to clean up his messes pretty damn well—save for Fred and Bright, as Sam also mentioned—so, to me, there is no way in any hell that Quinn just "accidentally forgets to clean up a body." He knows he's being hunted by the Department. And he knows that somehow, Darlin' will catch wind of that body with the hopes that they'll come right to him where he can finally get things done and wrapped up. Whether that be because he's not sure how much of a range the blood bond has, or because they have people helping them out in the Department (which therein lies my fear for Ansel's safety seeing as he's the one doing most of the investigating up in Ferris.)

And I can hear you already "but Koob! Why would he kill them if he knew the Shaw Pack would just hunt him down like they're the goddamn forgotten Gods of The Wild Hunt-" aHA! But that's just the thing! Quinn knows Darlin's back in town, but he has no idea they've renewed their bond with the Pack- let alone definitely stronger than it was before. For all he knows, they're still the lone wolf they were when they met! He doesn't know Angel and Baabe even exist yet, so he doesn't see any places he can get in and torture them emotionally or mentally before he just offs them and calls it a night.

Until Darlin' didn't show up to find him where he left that bait. Now he knows that something—or someone��is keeping them from doing something reckless. And now that he knows,

He's on his way.

Anyway, thanks for listenin' to my little rant :D I've been keepin' this puppy(no pun intended) in my noggin every since that Gregory audio and the following Sam audio dropped!^-^

#redacted audio #redacted asmr #redactedverse #redacted darlin #redacted tank #redacted sam #redacted quinn #redacted angel #redacted baabe #redacted shaw pack #redacted ansel #redacted gregory #redacted theories #koobs late night krack

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lentendays · 9 months ago

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Kuroshitsuji 209 Theory

Snake will be a bizarre doll.

Let me explain. I don't think Snake's role is over. Yana hasn't really been in the habit of fridging characters without payoff, and Snake's arc hasn't paid off yet.

When Snake reappeared at the end of the Murder Mystery arc, we established two things:

1) Snake wanted to kill "Smile" for doing something to his family, the circus troupe

2) Ciel employed Snake under the lie that they were going to find his family

These two things immediately foreshadow future conflict, where Snake will inevitably find out the Phantomhive household massacred the Noah's Ark circus. At the start of his employment, he wouldn't have hesitated to try to kill them for it. But we get to know Snake more - he's kind, insecure and shy, willing to give a job his all, and responds most to kindness from others. He gets treated well by Ciel and the servants; told that his looks don't matter, given an education and housing, and has saved Ciel on more than one occasion. We don't know who he would choose once the truth comes out, and that presents great conflict. With Doll showing up, we knew this reveal was going to come.

And it did, and it broke Snake, then he died saving a boy from Doll. But that doesn't seem to be the end.

The major deaths we've seen in Black Butler have all happened for a reason to drive the plot forward; Madame Red was discovered to be Jack the Ripper and her death served to introduce Grell and shinigami. Her story was over. Agni died at peace, protecting Soma, who has now turned into a vengeful possibly inhuman force. His story had little arc beyond protecting Soma and suspecting Sebastian, and it heartbreakingly concluded well. We are still picking at the mystery behind the Phantomhive parents' deaths.

Snake's death offered no new information and did not conclude his arc. He was still in denial and wondering what was happening in his last moments. If Yana wanted to kill off a major character for shock value, Bardroy could have died in the previous arc. We had his backstory and there was nothing new to share. But he didn't die.

For Snake - who has a lot more story to tell - to die for a child we just met, having been unable to process his love for the circus and the Phantomhives and what he's just learned about both or take any action, feels too abrupt for what's been set up. He *is* dead; the shinigami's presence and his reel proves that. But will he stay that way?

We still don't know how the bizarre dolls are made, only that they require a constant supply of blood. Snake's corpse is now in Doll's hands, and we know she definitely is a bizarre doll. We never got to see her actual death onscreen but it's extremely unlikely that Sebastian would miss a kill shot.

Hence: Snake will come back as a bizarre doll.

We do know that Bizarre dolls retain the memory and probably personalities of who they were before they died. Doll remembered everything and while she's more violent than she was in the past, that can be explained by the trauma she went through and her desire for vengeance. Same for R!Ciel and whatever he has planned.

Yes, there was a shinigami for Snake, but notice that this isn't anyone we've seen before. Why introduce a new shinigami when there are so many established ones?

One potential reason: because everyone we know is already investigating the Undertaker.

In the Campania arc, we know the prototype bizarre dolls were created by editing the reels. We don't know if this is still the case, but if it IS, and the Undertaker needed Snake's - it would be easier to get from a shinigami we don't know. We don't know their loyalties, or how strong they are, whether they've heard of the Undertaker situation. And if it comes down to it, we don't like them enough yet to feel any way if Undertaker ends up offing them for the reels he needs.

So it's not impossible that Snake comes back as a bizarre doll. And that would put his loyalties further into question. Does he side with R!Ciel and his friend Doll and the memory of his troupe, who were kidnapping and killing children for bone prosthetics - in addition to the fact that they would be the only faction capable of keeping him "alive" as a bizarre doll? Or does he help O!Ciel, who lies aside has treated him kindly and given him peace and an education, at what would be Snake's own "second life" as cost?

This would be a far more interesting story than him dying confused with little resolution.

Narratively, in a meta sense, there are a couple reasons this makes sense. We already have Soma vying for revenge; there doesn't need to be another similar story. We saw that it was possible for Lau to go back for Bard in the previous arc, despite having little reason to and not really knowing Bard in the first place. So why was Finny, who's always been shown as ride-or-die, the heart of the servants, who clearly cares about his colleagues and Snake, not allowed to do the same for Snake (in a narrative sense)? Because he needed to leave Snake behind to let a different story start.

Anyway that's my theory. Thoughts?

#kuroshitsuji 209 #spoilers #kuroshitsuji 208 #black butler #snake #doll #finny #ciel phamtonhive

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samble-movedd · 9 months ago

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kyubey's main defense for "why do you cause the suffering and deaths of billions, if not trillions, of children?" is something about how the magical girl system (girls contracting, girls turning into witches, etc) creates energy to combat entropy and the heat death of the universe. while kyubey and incubators as a whole are presented as extremely advanced, logical, and emotionless as a species, this "defense" shows how irrational and paranoid they are.

the universe is still in its "early" years. it is not near its end or even its middle years in any sense of the word. entropy and heat death will not be any concern in the slightest for trillions of years, and that's an absolute low ball amount based on my pathetic math skill guess of the figures. the actual year estimates until heat death i can find all have numbers so large they aren't even written out normally, they're written using scientific notation. a few have said numbers listed like "1.7×10^106yrs (if protons decay)". that is a truly unfathomable amount of time.

yet the Facts And Logic, "why is human thought so irrational?" species is so worked up over this far future event (that is not an immediate threat in any way, shape, or form) that they use their irrational paranoia over it to justify murdering children and causing them to turn into the literal personifications of their own personal misery. "for the greater good" and "the ends justify the means" don't apply when the argument is this backwards.

even if you want to headcanon that maybe entropy was approaching at some point, and they had to beat it back before, which is why they're so worried — it's implied in canon that the present day pmmmverse is in no immediate danger. besides the fact that they'd likely be issuing contracts to literally anyone and everyone if that were the case, all that is said is that madoka witching out caps their necessary quota or something, so they don't need to worry about it for now. this sort of implies that it's not a current crisis, or else why would they stop the second they met this "cap"? why not continue elsewhere to get extra energy?

if incubators are immortal and are concerned for that reason, they have a literal infinite time to figure out a better or more convenient solution. current human theory already has questioned whether things like creating other/new universes intentionally is possible (and seeing that ours exist, "creating universes" is clearly possible Somehow). why not try to contact (adult) humans and exchange information or theories? sure, incubators are supposed to be highly intelligent and almost see humans as cattle, but they've been outsmarted by even human Children before in canon (madoka's wish being the prime example, and that was something thought out by a middle schooler). logic can only go so far, and this is said by someone who, irl, tends to look and act like the -_- emoji when not masking. humans could toss "dumb/silly" ideas at the wall, and incubators could use their advanced technologies and experience to see if they would work. perhaps a solution to escaping the universe/preventing heat death/etc could be found via cooperation, as opposed to "we must murder children because we are scared of something that will happen a zillion years from today, it's not our fault 🥺". many a human idea has been born simply out of "i wonder if this will work?" as opposed to only sticking to logical steps or only doing one thing forever, because you know that One thing For Sure works. even if it's tedious/more trouble than it's worth for the outcome. but incubators do not know or try this, because due to canon implications, it seems their MO has always been "lets murder the populace for miniscule amounts of energy" (as seen by the alien magical girl in one of the games) instead of "maybe we should try to find a solution together".

#pmmm #madoka magica #madomagi #essays #<- ish #upl #sambling

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misc-obeyme · 1 year ago

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Okay I finally have something to say about Lesson 17. Not because I didn't initially but man my thoughts were all over the place.

Spoilers below as always.

First: Solomon because what!

Let me begin by saying that I am not here to discuss whether or not anything that either Asmo or Solomon have done in regards to each other is "right" or not. They're fictional characters, as far as I know they've both always been morally grey, and there is more than enough discussion about this elsewhere. If someone wants to know my opinion, feel free to ask, but if that's what you're looking for, it isn't going to be in this post.

That being said!

Why is Solomon telling us this story about his pact with Asmo again? I mean, he already told us about it several lessons ago. Not only that, but he tells it differently. The first time he says he met Asmo in his hometown, but this time he says it was just some town after a festival. The stories aren't the same. So either he's just too drunk this time around and he's misremembering things or he lied to us the first time.

Either way, the fact that they have made him bring it up so much means it has to be relevant to the story in general. I mean, that's Storytelling 101. If you keep bringing something up in your story, you have to do something with it. That's Chekhov's gun, you know?

If the purpose is for us to notice that his story has changed, then maybe my theory about past!Solomon is more true than I thought? It might even just be a completely different Solomon from a different branch of time.

Because I noticed something else - Solomon is the only character whose outfit changes regularly throughout the story. (Aside from the latest one where everybody wears their RAD uniforms.)

He starts out in what they call his casual outfit - it's the sorcerer one with the cape. But then he switches to what they used to call his human world outfit - the one with the trench coat and fancy necklaces. He stays that way for several lessons, then switches back again. He switches back and forth between them one more time throughout the lessons we have. And he's wearing the human world outfit the first time he tells us about Asmo and the casual sorcerer outfit the second time when he's drunk.

This might not mean anything at all, but it just seems like we may be dealing with rotating Solomons.

ANYWAY. Every time a new lesson comes out I say I'm not going to analyze it too much because my theories always get out of control. And yet here I am doing the very thing I say I won't do!

Pfff. I can't help it, this game has taken over my brain.

It also seems a little out of character for Solomon to straight up get drunk because MC was gone for one day. Like this is the guy who spent most of his life alone and all that? Hmmm. It was pretty funny when he was hungover the next day though.

Second: RAPHAEL

WHAT DID THAT ANGEL JUST SAY?!

They want the brothers to go BACK?!

Listen here, I am not okay with this development. I hope they're not gearing up for a season 2 about a war in the past. I want to go back to the present already. I want to know the truth about who Nightbringer is. I want to know what the HELL is going on! I wanted all this story line to wrap up in one season! But we're already on lesson 17, I feel like we're no closer to knowing who Nightbringer is and NOW the Celestial Realm has basically declared war on the Devildom?

I mean, there's no way the bros would actually go back. Not after everything they've been through. Though I could see Lucifer trying to take on the responsibility all by himself somehow. All I know is that MC better pull out their OP abilities and fix this before the end of lesson 20, thanks.

Okay, that's all I had to say, I'm gonna get back to writing some fluffy fics now lol.

#obey me #obey me shall we date #obey me nightbringer #obey me nightbringer lesson 17 #obey me nightbringer spoilers #obey me nightbringer lesson 17 spoilers #obey me nightbringer theories #obey me solomon #obey me raphael #what is even happening anymore #misc rambles

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inhuman-obey-me · 2 years ago

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I think Nightbringer is also working as a kind of soft reboot for the series to help fix the continuity errors in the original game.

Well, while we do see Nightbringer as sort of a soft reboot for the series, we're not entirely sure about it fixing the continuity errors in the original, considering all of the retcons they've introduced in the new game, including some that ... don't really make sense.

(spoilers for Nightbringer under the cut)

One of the biggest retcons they've done is that RAD didn't exist before the Great Celestial War. In the original game, The Glory Days Devilgram story shows RAD did exist, albeit newly, as it is the topic of conversation for when Diavolo and Lucifer first officially met (while Lucifer was still an angel). It was actually an important reason for Lucifer starting to change his opinion on demons and gaining respect for Diavolo. In Nightbringer, they've changed it so that RAD is proposed after the fall. We wonder if they'll talk more about pre-Celestial War relations in this timeline and how that went down, or if it's something that won't really be brought up...

Another big "retcon" is suddenly having Simeon and Luke living in the Devildom during this time, when the original game made it clear that the exchange program was Luke's first time ever interacting with demons. We're going to explain that away that all of this is a branch in the timeline, because there would already be some major implications for present-day with all that's gone on in the past. Solomon might have warned of time paradoxes, but that line was crossed the moment MC got thrown back into the past. 🙃 And we already know different timelines exist in the OM universe thanks to Season 1, so is there even such a thing as a time paradox in this case if it's just created a whole new timeline in the first place? Plus Solomon is also fucking around in this time, so shut up, old man ❤️.

Then there's also the big glaring alternate-timeline "retcon" change in MC's whole role here, which seems to involve resolving major issues and tension points long before they boil over in the original. We see Belphegor's blaming of humans on full display super early on, and Solomon blatantly calls out Lucifer's loyalty deal with Diavolo in front of the brothers (though without the info on what the deal was for), something which the brothers had no idea about in Season 1.

There are also some more minor retcons as well -- in the original, Satan has emphasized that wanting to be recognized for more than just wrath, especially being Lucifer's wrath, is a big reason why he became so thirsty for knowledge and books, yet here he's already quite into books even while he's still basically just a ball of wrath. Plus, for some reason, Belphie and Satan are already pranking Lucifer all the time, even though canonically Belphegor only joins Satan against Lucifer as the "Anti-Lucifer League" after being locked in the attic. His bio in the original game literally mentions, "Until a certain incident took place, he respected Lucifer the most among his brothers." In the Hatred Devilgram, he outright says their relationship wasn't always like this, and it flashes back to him heaping praise on Lucifer. Yet in Nightbringer, Levi has already referred to them as the Anti-Lucifer League -- and contrasting even that, Belphegor actually doesn't show that much animosity towards Lucifer really at all so far, except for these random prank mentions.

So yeah, there's a range of things they've changed here. Whether any of this will stay consistent moving forward in this Alternate Universe (because really, that's what it is at this point) remains to be seen.

#lets answer this one real quick we said #it should be short we said #obey me #obey me!#obey me swd #obey me shall we date #omswd #obey me nightbringer #obey me nb #omnb #obey me nightbringer spoilers #ask and ye shall be answered #ask and ye shall receive (essays)#nightbringer discussion

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