#And there will be so many conflicts of interest

[croziers-compass]

Truly, the base thing is that the younger generations of humans do not treat engaging with other people as speaking to another human being. Going to sound like a boomer myself, but there is such a distinct lack of both respect and decency. In online spaces and social media, respect is not something that is rewarded or treated as a standard; and that standard is entirely gone. So many of the younger folks nowadays treat all of their engagements across the internet with a lack of respect, decency, and honouring of the other person and their presence in their communication. Their time is spent in an online environment where they are enticed with drama, conflict, and they entertain boredom with antagonism. They also are engaging with people that they will never have to really see or properly engage with and if they want they can guilt-free block and never see someone again. This has rewarded and encouraged poor social skills and an inability to properly make deep and understanding connections with potential employers or individuals that can help move their careers or interests forwards. And then they, without knowing any better, ask the questions of: "Why do I have to treat another human being like a human being?" because they are not rewarded for treating human beings like human beings and not just a source of online entertainment and media consumption to scratch an itch. And this isn't just about e-mails as well. The way social engagements online have developed is very poor. Etiquette isn't something that's meant to be posh or high-toned. It isn't meant to be a display of superiority. It's meant to show respect, decency, and to let someone know you actually care about the other person, what they have to say, and how they feel about something. It shows you are also receptive to what the other person has. Don't you want someone to make you feel like they care and are listening to you? So when you reach out to people online, how you choose to engage with someone will determine if they wish to engage with you further. If you want to make connections with other human beings, you may have to understand that it is not always going to revolve solely around yourself. And I absolutely understand that the current settings of the social expectations of social media environments have derailed any idea of conducting yourself with dignity and respect or treating other people with dignity and respect. But it's something that will negatively impact someone in the future if they fail to grasp the importance of treating other people with basic communicated respect. Especially in professional settings.

not to sound like a boomer, but I need some people to learn how to write emails in a semi-professional (at the very least) format so you're not cold emailing a business/potential employer/any other stranger about formal matters in the exact same way you'd DM a close friend on instagram

the formality/language can loosen up in the email chain once you've established a rapport and you match the other person if they're being less formal, but please don't have the very first email you send a stranger be written in all lowercase ultra-casual sms slang with no greeting or signature and a billion emojis

[vickillaman]

People expecting a character like Caitlyn who has shown so many times her clear disdain for communicating her feelings verbally, to have lengthy conversations and never ending apologies for everything she has done wrong is a bit disappointing.

Caitlyn is a politician’s daughter. She knows that words are always there to smooth the rough edges of the conflict or to make promises that another age won’t see coming to fruition and, essentially, mean nothing without the action following.

People offer their sympathies and she just doesn’t acknowledge their words, Cait just moves past it and changes the topic or tries to make up a plan to just do something, to fix and salvage.

She shows, not tells.

She doesn’t say a word as she rushes to bring her father in a tight embrace after being on the brink of death and allowing herself to stay like that for a few moments with a person she thought she’d never see again.

She doesn’t say a word as her eyes are slowly drifting lower as if preparing herself to face yet another of her mistakes that she can’t erase. She’s reaching out to gently graze her fingers over an injury and the spot that she hit the person who she loved so much in, sorrow and remorse all over her face.

She doesn’t say a word as she puts every obstacle out of Vi’s way to make sure that nothing would stop her to free Jinx: to free the person who tormented her mind even before she knew her name, to get her out of the cell and out of the punishment Caitlyn was determined to bring on her with all the rage and ferocity of a grieving daughter.

She doesn’t say a word as she gives up her inherited sit in the Council for a Zaunite who she faced in a fight that she barely got out of alive by sheer luck and is there to represent the interests and stand for the rights of the city she poisoned and regarded the residents of with a loss-reinforced contempt and prejudice.

Why would she need to say anything when she shows so much?

And why would you, as a viewer, rob yourself of the opportunity to appreciate the nuance of the character like that?

[literaryvein-reblogs]

Writing Notes: Compelling Characters

Characters & Goals

“Every character should want something, even if it is only a glass of water.” –Kurt Vonnegut

Characters should almost always have clear goals, even if these goals are not immediately made obvious to the reader.

Without goals, characters lack motivation—that is, they have little reason to do anything interesting.

For this reason, many writers connect the main character's goals to the main conflict in the story. This generally means that the main obstacle to those goals plays a key role in the plot as well (for instance, in the form of a villain).

Often, the main character is most interesting and when confronting his own shortcomings in pursuit of his goals.

There are a few ways to construct this character-plot connection:

CHARACTER-FIRST APPROACH

Constructs a story’s plot for a character that already exists.

It asks a writer to build a character that they find interesting and then assemble the plot around them.

Example: A character who is struggling to overcome a phobia might, as a plot element, come into contact with the thing she fears. Success in this instance would mean that she doesn’t let the fear overcome her.

PLOT-FIRST APPROACH

Starts by defining the major conflicts the writer wants to include in a piece of fiction and then builds a character who will be motivated by those conflicts.

Example: A writer could decide to explore the effect of a catastrophic storm on a city before writing a main character. A character that would feel motivated by this conflict would be one with a connection to the city or to someone living in the city. Therefore, the son of someone who went missing in the storm would likely be a good focal character for this story.

Small Goals & Big Goals

Though it’s important for characters to have at least one big goal, it can be boring for the reader if a character is totally preoccupied with a single motivation.

Strong characters generally have two or more goals of varying sizes that they might confront separately or at the same time.

The reader excitedly anticipates your character's success or failure in achieving their goals.

Believability

Another factor that can contribute to a successful character is an element called “verisimilitude,” also called “believability.”

When writers talk about believability, they talk about whether the constituent parts of a character make sense and feel cohesive.

Example: We might expect a character who gets paid minimum wage to struggle to pay her bills, so if we see her driving an expensive car or spending several hundred dollars on a meal at a fancy restaurant, we would question these details.

There are, of course, stories in which these situations could exist, but the reader would need to know what allowed them to happen (inheritance from a late relative, perhaps, or an irresponsible approach to personal debt).

Suspension of Disbelief

Stories that take place outside of a realistic modern setting will generally require some extra work on the part of the writer to make them believable.

This is because of an idea called “suspension of disbelief.”

This refers to the tendency of readers to challenge details of a story that seem out-of-place, but not to question those details if they are presented with enough contextual justification.

Example: A story contains people who can fly with human-size wings. The reader would need to learn early on that this is a normal event that occurs in the story world. A reader who unexpectedly encounters flying humans three-fourths of the way into a short story could easily be baffled by this development, and might also consider it a cheap cop-out if it's used to resolve a plot conflict.

Adding Physical Detail

In addition to planning your characters thoughtfully, you must also sketch them coherently on the page.

Careful selection of physical and environmental details will make some of your character’s traits visible to your reader without you having to tell them outright what you mean. Examples:

A character who is disorganized might have wrinkled clothing or might consistently arrive late to appointments.

An introverted character might bring a book or notebook everywhere they go and might also stay out of crowded spaces (or feel uncomfortable in those spaces).

Symbolic Meanings

Be aware of the other meanings that a detail can bring into a piece.

A physical detail, especially one that appears multiple times within a work, might also develop symbolic meanings in addition to its literal meaning.

Writing Exercise

In a short vignette, and using only physical details (e.g., characters' clothing, appearance, or body language), make it clear to a reader that a character is experiencing one of the following conditions: worry, hunger, grief, joy, confusion, lack of sleep, anxiety, homesickness.

The word you chose should not appear in your vignette, nor should any synonyms.

Adding Personality

Broadly, “personality” refers to the collection of beliefs, thought patterns, and other mental qualities that dictate a character’s actions.

A personality trait could be the character’s bubbly disposition, their self-deprecating humor, or the fact that they’re always nervous.

When constructing a character, it’s important to think about how she would react in a number of situations.

Here are some questions to help you discover your character’s personality traits:

Is he fond of attention, or does he avoid it?

Is she curious to learn more about a topic/location/person, or does she keep to herself?

How big of a role does fear play in his day-to-day activities?

How does this character react if things don’t go the way she wants them to?

Does he think that he’s more intelligent/less intelligent than others around him?

Does she think she’s average? How would she define “average?”

How does he feel about making decisions?

Does she make decisions quickly or slowly?

Does he tend to regret decisions they’ve made?

It’s helpful to connect these traits to elements from the character’s life or past.

Example: A character who grew up with a controlling parent might have difficulty making decisions once they start living on their own.

Personality traits might also overlap with physical traits.

Example: Talking too loudly or too softly or interrupting others.

It’s also important to make sure that your characters aren’t good at everything they come across.

Doing so will reduce your story’s believability because—let’s face it—no one is good at everything.

To this end, you should allow your characters to fail at something, whether that something is huge or inconsequential.

Writing Exercise

In a short vignette, deliver some news to your character.

The news can be good or bad.

It can affect just the character, or the entire world population, or any number of people in between.

How does this character react?

Who do they tell, if anyone?

How do they interact with the space they’re in (e.g. punch a wall, hug a stranger)?

Try this exercise several times with the same character but different contexts (e.g., the character receiving the news alone versus receiving it in a public place) to see how they react under different circumstances.

CAUTION: Using Fictionalized Versions of Real People

It’s common for writers to borrow details from real life—the shape of a stranger’s chin, a classmate’s clicking of their pen during a quiet exam, or the restaurant server’s shrill laugh, to give just a few examples—but a writer should be wary of recreating an entire person on the page.

There are legal reasons not to do this, of course, but there is also the danger that a story filled with too many real-life people and events will be flat and boring.

Fiction should generally be a healthy mix of the ordinary and extraordinary.

If the mix is skewed too far in one direction, the reader can find the piece too unbelievable or too boring.

Source ⚜ More: Writing Notes & References ⚜ Writing Worksheet: Conflict Lists: 170 Character Quirks ⚜ +600 Personality Traits ⚜ 100 Sensory Words

[nonsensology]

Later at the wish granting ceremony, CEO Magnifico announces he’s greenlit Ice Age 6 and five more live-action remakes.

_ _ _ _ _ _ _

There are so many cancelled and unrealized projects that Disney is sitting on, that they do not benefit from in any way by keeping them locked up tight. They really ought to just let them go if they don't have any intentions of doing anything with them.

Incidentally, I could never agree with the mentality of “Magnifico is actually the hero, and Asha is the TRUE villain” that a lot of people seem to have. I drew my comic based on this post. I feel like if more people had been aware of this possible interpretation, they wouldn’t have sympathized with Magnifico.

Does Wish have bad writing? Yes, it does. And it’s because of that bad writing that every single character suffers. What I think happened is that, as a result of said bad writing, Asha became a character that’s so uncompelling and lacks uniqueness that she ends up a blank slate for audiences to project their frustrations with the movie onto. King Magnifico on the other hand, is probably the most interesting and entertaining character, due in no small part to Chris Pine’s performance, and so the audience is much more sympathetic towards him and willing to ignore his flaws.

One of Asha’s problems as a character is that she doesn’t really contribute much to the story. By contrast, Magnifico’s downfall is brought about entirely as a result of his own actions. Magnifico is in fact not a good leader, because he gives in to paranoia and temptation, acts in a very unprofessional manner, and escalates the conflict to an absurd degree.

Please note, Asha does not get upset that Magnifico refuses to grant her grandfather’s wish, she gets upset that he insinuates that her grandfather might have dangerous intentions, and because he does not have a convincing reason why he doesn’t return wishes that he won’t grant. Rather than calmly explaining his reasoning to her, Magnifico rudely dismisses Asha and then blows up at her.

If Magnifico were a good leader, he would have explained to each person WHY he won’t grant their wish, and given them advice on alternatives. As it stands, he knows full well that everyone expects their wish to be granted. It’s why they even came to Rosas, it is the literal reason he even built his kingdom in the first place. Returning their ungranted wishes simply means returning the memory of what their wish even is, and they’ll be no better off than they were before they gave Magnifico their wish.

I dunno about you guys, but whenever I watched stories that preached “be careful what you wish for”, my takeaway was never “your desires could be dangerous and you should never pursue them for fear of disaster”, I always thought the stories were telling us, “beware of anything that promises instant gratification, because it’s usually too good to be true, and will cost you more than you will gain”. While the things you want in life may have disastrous consequences, you won’t really know until you try to pursue them through your own honest efforts, and not through “magical” shortcuts. That’s how we learn and grow, through trial and error. 

As it currently stands from my point of view, when people say "Magnifico has every right to keep ungranted wishes" it looks like they're unintentionally saying, “The Disney Corporation has every right to keep your work and ideas, because you willingly handed them over. Tough luck if you regret the deal you were given. No takesies backsies!”

While I have found no evidence to confirm that the filmmakers intended for Magnifico to be a criticism of Corporate Disney, considering the inclusion of the animation sweatshop scene in Pixar's Inside Out 2, I think the probability is likely.

Please note, everyone is free to rewrite and reinterpret Magnifico however they want. He's just a fictional character after all, and fan content is supposed to be for fun. I just think it's funny how defensive people get over him. They say he deserved better, and I agree, but we have very different ideas of what "better" means. In fact, I think every character in Wish deserved better, because again, they were all victims of bad writing. Remember those deleted scenes featuring a villainous Magnifico with better writing, along with an evil Amaya that he can play off of? I'm fairly certain that everyone unanimously agreed these deleted scenes were much better than the final movie, and yet some still insist that Magnifico should have been a hero all along. I dunno, it's a funny dichotomy. 

[jbaileyfansite]

When it comes to long-awaited films, there are few movies with as much anticipation as Wicked. Inspired by Gregory Maguire’s best-selling novel, it became a cultural juggernaut when it transitioned to the Broadway stage. Now, one can't talk about the Wicked Witch of the West without talking about Elphaba (Cynthia Erivo) and Galinda/Glinda (Ariana Grande). While the massive film has brought Oz’s witches to life like never before, it's Fiyero (Jonathan Bailey) who’s most benefitted from the stage-to-screen transition.

Fiyero's roots can be traced back to author L. Frank Baum’s original Oz lore, though the Winkie Prince himself is Maguire’s creation. On stage, Fiyero is a lovable troublemaker who flirts, and of course, dances, his way through life. The big screen version of Wicked honors this while adding a uniquely wonderful twist to his Lothario nature. When Fiyero arrives in the show, he charms Galinda in a very similar way to what he does on screen, but Fiyero’s actions in the movie aren’t solely to impress Galinda. Rather, he is out to create a real sense of joy for everyone, an effort that is made clear through his flirtation. While an ensemble number on Broadway, his stage counterpart spends the whole of the song with Galinda, where the film has him flirt and dance with a multitude of Shiz students to help them celebrate life.

While Fiyero mirrors some of cinema’s most iconic “bad boys,”one of the best changes the movie makes is his sexual ambiguity. He shares his seductive side with all of his fellow students, no matter their gender. And, what’s more, he genuinely enjoys it, sharing some of his steamiest flirtations with male cohorts. It’s a wonderful way to not only shake up the archetype but also makes Fiyero himself feel more fleshed out. But the greatest alteration comes from his relationship with Elphaba.

Elphaba Reveals That Bailey’s Fiyero Is Deeper Than He Seems

On stage, Fiyero starts to show depth in the second act, but Wicked doesn’t make audiences wait for the second film to see that there is more to the character. Both of Fiyero’s scenes with Elphaba exist on stage, but Bailey and Erivo fill their interactions with nuance. Both actors give their first meeting new meaning with the screen version. The musical usually plays this moment as an unpleasant introduction, but Erivo and Bailey play the scene as an undeniable flirtation. It’s a fantastic way to set up Elphaba’s upcoming conflict and solidify the complication that brews below Fiyero’s surface. Bailey brings a boyish charm to the scene that makes it clear he is undeniably taken with Elphaba (the first person in the film to be so), and he continues to add depth to the character after he and Elphaba free the imprisoned lion cub.

She gets under his skin in a way no one else can. While many in Shiz lust for Fiyero, no one can see his internal unhappiness except for her. When she touches him, Bailey shifts his performance and makes it clear that she is the first person to make Fiyero really look within and question what he wants out of life. It’s a beautiful way to foreshadow the conflict he will continue to face in the second part of Wicked and pulls on the heartstrings of moviegoers. He immediately goes from a lovable flirt to a relatable, deeply complicated young man who just might find himself in the woman who will eventually be perceived as Oz’s greatest villain.

Indeed, there is no denying that Wicked has used its new medium to reinvent Fiyero. From twisting an age-old archetype to Bailey’s fantastically intricate performance, he’s become a far more interesting version of the character. As audiences anticipate the next installment, it’s safe to say that Fiyero is set up for even more exploration.

Source

[fairystarstorm]

Thinking about what's going wrong with Arcane s2

I have not finished s2 yet (still need to finish act 3 but basically got all the major spoilers). I feel like a big problem with this season and why the Z vs P conflict fizzled out is that so many characters are simply not in the that narrative anymore. Especially since they all had interesting stories to explore in regards to it. And if they are apart of the plot line, the things that would make things more interesting are simply ignored.

Taken from the narrative

Heimdinger: the founder of the city realising that the society he built ain't shit and that he failed Zaun by not helping to uplift and protect them (instead of just picking out a pupil from Zaun and calling it a day). All that Talk about how destructive magic could be in the wrong hands while realising he build a society filled with those exact wrong hands because of his inaction. Him actually putting in the work to change and dismantle those structures and belief systems that he allowed to grow in the first place

Jace: He goes against his own morals once again to build weapons for Caitlyn and her team. But we get none of the introspection or the regret that should have gone with it. Why because he is off in an alternative reality fighting for his life. He finds out that Hextech is poisoning Ekko's tree and there's nothing more to that conversation?? If something had gone wrong with the core it could have destroyed Zaun? Something could have happened that could have disabled or killed many others like it did with Viktor. But let's gloss over it. Him reconciling with his actions as a councilor??? That kid really was just a blip in his life i guess.

Viktor: a big problem I feel with Viktor's character is that he can feel very removed from Zaun at times. Like we never got to see his horror about Hextech being used against his people. We never got to know about any family or how he actually felt about being resurrected. What his plan was for Zaun beyond making a little commune. A huge part of that is also because they barely let this man have meaningful interactions with anyone in s2 besides ghost Sky and Jace. Vi, Jinx, Vander and Isha going to his commune could have been a possibility for that. Because even though I do believe that Vander and him did not know each other personally, I don't think he would not have known of him. Also we barely hear him talk meaningfully about his identity as a Zaunite in Piltover

Ekko (and the firelights in general): In my opinion the biggest snub. The others character arcs were mostly about other things in s1 (piltover politics, hextech etc.) but Ekko's whole motivation was to protect his ppl from both the enforcers and Silco. However we didn't get to see him deal with the rise of enforcers in the undercity or Sevika being the one to try and unite Zaun. We didn't get to see him grapple with the fact that Vi became an enforcer or that he was wrong to place his trust in Caitlyn. And even though I love how ep7 is highlighting his good qualities I wish they were explored in his timeline. Him being there would have also allowed for more spotlights for the firelights and Zaunites in general. None of the other people in the cast (Except for Vander) are as involved with regular people in Zaun then he was. It makes Zaun feel less complex and lived in beyond the visuals.

Mel: Considering that they are setting up her mother as the true big bad (which flattened the Z vs P conflict + general bad writing surrounding ambessa which i won't discuss now), it would have been nice to have her be able to react. Like in the beginning of the season we get it a little bit with Mel using spies to figure out her mother's plans. We could have had her realise that Piltover is not fundamentally different from Noxus because of how easy it was for her mother to take over. Only that the violence they dish out is different between the 2 cities. We could have had her sit that in both cases she is part of the oppressive class and that she was only acting out of self interest rather than actually caring about these issues. Instead of her being Kidnapped to get powers, let her finish the story arch that had been set up for her in s1.

Underexplored

Sevika (And Jinx): her involvement with Silco and how that is seen by Zaunites that are not chembarons. Ppl being unwilling to trust or listen to Sevika pleading for united Zaun when she was apart of Silco's operations make sense. Silco brought shimmer into Zaun. Ekko says that a lot of the firelights joined because of how it ruined their lives. Sevika having to struggle with her role in it and how it ultimately makes it harder for the to reach her goal would have been satisfying! Also her showing up after episode 4 would have been nice in general. Also same with ekko, she was the only one who was reaching out and communicating with different groups of Zaun. She and Ekko were windows into Zaun society that they just kept closed for some reason.

Vi: Just everything man.... her trauma, her choosing to be an enforcer, her alcoholism... her relationship with Jinx/powder, her guilt, her role as protector who seems to be failing no matter what she does. All kinda of flushed through the drains for caitvi to be able to exist (yes i dislike caitvi, no i also don''t really care for jayvik or timebomb and i am also a lesbian).

Jinx: I thinks she has been done quite well so far but I have heard for how her arch ends and it is just bad..... also wished they explored Isha more and what Vander coming back would mean for Jinx

Caitlyn: wish they would actually put the responsibility of her actions onto her instead of Ambessa/Jinx killing her mom. Also the fact it was never addressed that even in s1 she was microagressive as fuck towards Zaunites. Yes she eventually saw the need for independence (after talking to Ekko mind you) but does that mean anything if when she was in power due was actively making things worse for Zaun. She could have started working kn redeeming herself but the fact that the narrative/the writers don't want to put the full blame on her just makes that idea seem laughable

Tbh a lot of it has to do with the fact that the writers didn't let characters interact with each other for long periods of time or deal with the consequences of their actions but hey at least the coplesbians fucked and the scientists had their madoka magica moment

[doonalli]

The Dummies, Midori, The Banquet, and what it truly means to "be human"

And here we are at the finale. if you haven't seen my previous analyses on the Dummies I recommend you read them before reading this one since i am going in assuming you have. But if not here they are in order; Why Anzu is Important Hayasaka and how humans change Kurumada and trust in your allies Ranmaru: Doubts in Humanity, and Humanity in Doubts Mai and Humanity in Autonomy Hinako; Humanity in Affection and Connection

With that said, let's start talking about the Banquet, Midori and what that says about the dummies' humanity.

At first the Banquet seems like a strange choice for the finale of the chapter, after all, we just went through a whole chapter about proving the humanity of the dummies, yet here they are all killed of one after the other here for the sake of Gin, a human. It comes off as a bit jarring, even seeming like YTTD is going back on its message a bit.

But I’m here to argue that isn’t the case, that the Banquet not only doesn’t conflict with the messaging of the chapter and the game as a whole, but instead works to push it even further to culminate in a perfect ending.

And to start with that, let's talk about one of the key players in the banquet, Midori. In a way Midori is everything it means to not be human, and he himself revels in this inhumanity. Midori has thrown away his own humanity, and this is shown to us in so many different ways, but the main one is the way he treats his own body.

What's particularly interesting about Midori is how unclear the line between what's real and what's fake is when it comes to him, from his relationships with the participants during their pasts, to the constant lies and half truths the tells over the chapter, to his death itself, it's hard to get a grasp on the reality of the situation when it comes to him.

And this of course extends to Midori himself, as he is presented as a mystery ever since Alice told Keiji about his murder, and in the way we don’t quite know if he is human or not until the banquet itself, and even then we don’t know exactly how much of his body is human.

During the Banquet Midori reveals that he has slowly been replacing parts of his body with doll parts, 

And to Midori this is equal to no longer being human, this mentality can only be achieved if you equate humanity to what you physically are, and it's through this that Midori acts as the opposite of what the dummies all stand for,

Where the dummies stand for Humanity not being tied to the physical truth, Midori stands for the opposite notion, that the physical truth stands above all. In his eyes humanity is a weakness, and we see that in how he treats them and the traits that prove humanity.

And so Midori tries to escape it, to escape his own humanity, no need for allies or connections or doubts or fears, all those "human" traits when you can just stand above it all, as some unstoppable force.

Midori is the perfect example of this because he constantly rubs it in your face just how inhuman he is, he does so when he starts spinning his head and when he rocket punches Yabusame and literally asks

And he furthers this mentality with his actions too, because Midori is denying his own humanity, he denies his fear of death, he constantly berates and betrays his allies like Maple or Hinako, he denies others of their choices and autonomy, laughing at their despair and refusing to connect, and even his “affection” for Sou is a twisted, messed up version of what affection is. All of it to dehumanise himself and others.

It's honestly hard to call Midori human after it all, and that's just what Midori wants. That's why Maple’s last act of defiance near the end of the chapter was so important, because it shows us and to Midori that that's all it is, a facade.

Just one small moment where Midori wasn’t in control and that's all it took to show us that he isn’t invincible, and with that the image of a fearless unstoppable force is shattered, and it shows us that he isn’t as above humanity as he thinks he is.

It's important that this happens here because it allows the cast to fight back during the next section, both himself and his ideals.

Midori’s mentality of humanity being defined by what you physically are goes head to head with the Dummies in the banquet, and that's what it's about, it's a battle between Midori, and the Dummies, who are trying to prove their own humanity, with all the ups and downs that come with it.

The banquet itself plays into this too, the hint system draws a straight, clear cut answer on who is a doll and who is a human, using exclusively what they are physically.

And the cast isn’t exempt from doing this too, with many of the first discussions being centred around “who is human?”, whether it be figuring out what the lights mean, questioning whether Midori himself is human, or questioning who among the Dummies is a human.

And it's only when Mai’s hands are revealed to be Midori’s human hands, that the lines start to blur. 

Does Mai having human hands make her "more human"? What if they aren't even hers? Plenty of people use body parts from others in real life too right? It gets you thinking about the line between human and doll and just how fragile and unclear it can be.

And sure we designate Midori as the human here, but later we find out we were wrong, because trying to designate a human through physical traits is wrong. But before that…

After picking a coffin and killing either Hayasaka or Kurumada the next hint reveals a human, Sara tells Midori that he must be afraid as hypothetically there is a 50% chance he dies, but Midori denies he is afraid of dying and picks the coffin anyways, revealing it to be Hinako

This just blurs the lines even more, since up to this point we thought all the dummies were dolls, yet a human was able to sneak in there entirely undetected. Can you really say they're that different if you didn't even realise it at first?

And importantly, as we discuss who Hinako really was, we confirm her humanity, but not through any physical traits like many people tried to do during the banquet, but through a painting and the connection between Alice and the real Hinako.

During the next section we figure out the truth about Midori, and about how he has more doll parts than human, spinning his head all the way around to prove it. Obviously this isn’t something that any human could do, but more importantly it shows us Midori’s inhumanity in an undeniable way, it's so flashy, bold and in your face, that you’d be hard pressed to call him human.

When Sara then stands firm and states that this proves Midori is a doll and Gin is a human she is agreeing to the line that Midori drew and separates Humans and Dolls even further. This goes as far as to picking a red coffin, picking a doll, just to keep Gin the human safe, Midori even calls Sara out on it if she is really alright with picking one of the dummies, and notably Sara’s internal monologue doesn’t question that fact, but instead wondering why Midori is so confident, and why he doesn’t seem to be scared.

Sara is being pushed even further into believing Midori isn’t really human anymore at this point, Questioning if their logic was even correct. Until…

The surviving dummies inspire Sara through their words, and with that, prove their own humanities in their own separate ways, showing Sara and the player that their lives have purpose, have value, and that they are truly human.

On the surface it seems like Sara is simply making a choice to sacrifice the dolls for the sake of a human, and the tragedy of that is the fact these scenes show the truest form of their humanity. There is a reason these scenes are such a focal point in my analysis of each of those characters (Mai, Kurumada, and Hayasaka) and it's because it shows that they are able to make their own choices, for the sake of their allies, despite their contradictory emotions, and that's something that's inherently human. 

We see this when characters like Mishima, Kai, and Kanna all do something similar, and it all just works to prove that fact the dummies aren’t separate from the humans.

So why does this happen? Well to me it shows that despite their efforts, Sara still couldn’t shake her bias, playing right into what the Banquet and Midori want, by dehumanising the dummies.

But it isn’t over and the dummies still have a chance to show their humanity.

Tragically, Sara misses, not knowing at this point that Midori isn’t even in one of the glowing coffins, and Midori now has a free shot that's basically guaranteed to hit Gin, but Midori gives her a chance to talk to Gin, and that confidence ends up being his undoing.

While talking to Gin he mentions Keiji, reminding Sara of her wish she got from signing the consent form. She demands Midori to change it, and after some arguing, he does. Only he picks the #2 coffin, killing Anzu, and it's here where we reach our lowest point, where Sara herself admits that she undeniably sacrificed a doll for the sake of a human.

However it's always darkest before the dawn, and that's true here too, this is the Dummies’ last chance to prove themselves, and they won’t go down without a fight.

Through a discussion the cast figures out that Hinako swapped coffins with Midori before the banquet even began, meaning he is actually in a non-glowing coffin, and through this they are given an actual chance to fight back, because, as Sara rightfully called out, this proves Midori is afraid of death.

Despite his claims otherwise, Midori is scared of death, and because of that he swapped coffins with Hinako out of a fear he’d die outwise.

Midori claims that this doesn’t matter though as no matter what all 3 of the non glowing coffins have dolls inside, meaning the hit will be red no matter what. 

Regardless Sara presses the hint and it ends up blue, meaning that there is a human inside, much to everyone’s surprise.

The fact that Midori believed so strongly that the coffins would end up red only for it to be blue just blurs the lines between these two options even more. The fact that the contents in this coffin are unknown is just the first step in this counterattack.

Before that however, Ranmaru’s coffin is picked, sending Sara to give up, but Q-taro tells her that it's not what she thinks, as Midori is revealed to be struggling with his next choice.

This goes into the war of words against Midori, and the thing about this one is that compared to the other war of words our goal here is to confuse Midori as much as possible. First we refute his claim that Keiji isn’t in the coffin, despite it being blue. Then when he brings up the victim videos we tell him that the Hinako in the video isn’t even the Hinako of the dummies. He reasons out Maple must have told Keiji about the Banquet, and reveals that the coffins designate between human and doll through the collars, as both dolls and humans would be ashes after being cremated.

All these contradictions are designed to blur the lines between red and blue, real and fake, human and doll.

The way Midori doubts a human is in the blue coffin, or the way we bring up how not all the dummies are dolls of people who died, or how he admits that the coffins don’t even tell the content apart by physical traits but instead by the collar put on them.

And by the end we’ve blurred the lines so much that Midori thinks the coffin contains his collar, despite his own claim that he himself would be counted as a doll. All due to Q-taro's trick.

As if Hinako being a Human among the dolls wasn't enough, there has been a doll among the humans the whole time, and no one could tell, not even Midori, who dies before he ever learns the truth.

The fact that a doll of someone could so easily fit in just shows how vague the lines really are. We see just how much a doll can seem like a human, how they can feel and learn and grow like any human, how they laugh and cry and shout like any human. And at that point... was there ever really even a line at all? And this all culminates in the final act of the Banquet, Midori and Sara’s last choices. Midori is now doubting himself,

struggling between the 2 options he has to target, struggling with his conflicting feelings,

 and Sara thinks to herself that Midori has no allies to rely on now,

because he denied that connection, and killed them all himself.

She tells him to choose, to make his own choices now,

and he does, he picks the non glowing coffin… Missing Gin and ultimately dooming himself.

Sara ends up making her choice, choosing Midori’s coffin, and as the drill goes through Midori, he realises just how scared of death he is, but it's too late for him.

We prove his mentality of humanity being decided by physical traits is wrong in this moment, because here, in his final moments, Midori is undeniably human, and even he can’t run away from that.

"I'm a human. Which is why I don't wanna die..."

Unlike somebody such as Rio, who also spent his last moments as a human, Midori doesn’t deserve any sympathy, because he did that to himself. Just like how he denied that connection to his allies like Hinako, and killed them, Midori essentially killed his humanity, or at least tried to, so when he’s backed into a corner he doesn’t get to rely on his allies, and while we’ve proven that his mentality of humanity isn’t right, Midori himself he only realises this right as he is about to die, when it's far too late to go back now.

Through the Banquet and its final choice we prove to not only Midori, but to the cast and ourselves that humanity can’t be defined with just the physical truth, and that's what victory means for the dummies, because if someone who actively threw away his own humanity, with all his rocket punches and spinning head can still struggle with contradictory feelings, can try to rely on his allies, can still be forced to make his own choice, and can truly fear death, then humanity  just can’t be defined by something as simple as how much of your body is a doll, and the lines that seemed to divide that, ceases to exist at all.

================================================================================================ Afterword: So that's it. This set of analyses is finally done. Some of you all might have noticed that this is being released exactly one year after my first Anzu analysis, and I just wanted to thank everyone for reading this with me, the fact that there are people who like and agree with what I have to say is still unbelieveable.

I started this series because I thought the dummies were an underappreciated part of YTTD and 3-1 was underappreciated in general. To me this chapter is just incredible, my favourite bit of fiction ever, and I just wanted to put it into words why I love it so much, and as I wrote this series I only grew to love it more!

I hope I was able to share that love to whoever took the time to read any of my posts, its been an incredible time, thank you so much! and i hope you're able to love it a bit more too.

Sorry this one took so long to come out, I've been working on a few projects that i'll hopefully be able to drop soon, and if you're a fan of the dummies I think you'll like what I have in store.

Lastly I want to thank Crazy Sunshine for being such an incredible friend and for helping me so much with the latter half of these analyses, they were improved so much with their help!!!!

And I'll try to be more consistent with these posts but uhh i said that before and that hasn't exactly worked out, regardless this isn't the end, i have a few asks to catch up on still and i am not even remotely close to saying all there is to say about this incredible chapter, so I hope you'll be there when it drops. I hope you've enjoyed this era of my blog and moreso I hope you look forward to the future.

Thank you for reading!!! I hope you enjoyed! and I hope I got you thinking about this incredible chapter even just a little bit more.

[atlasrayz]

Ok hi time to rant abt hazbin/helluva because i will forever be upset about the outcome of those shows.

Indie animation has been on a rise lately, with so many different amazing shows being available on youtube.

I watched the hazbin hotel pilot around the time it came out, and it really interested me. The characters seemed interesting and the premise wasnt really something you see often. I was excited.

I kept up with Viv's work and got into helluva boss. I thought it had some good jokes and the bits of lore we got made me want to keep watching. However, the premise of literally every episode is the same. A bad ex or a bad dad. Its a formula, and it shows up in Hazbin too.

Viv has some obsession with daddy issues, and problems with characterising her women characters. Charlie is the *main character* of Hazbin Hotel, but she has literally no growth or development. Millie also falls victim to this.

The one episode where she actually gets some attention feels... wrong? It felt like they were mischaracterising Moxxie so that they can fabricate conflict between Moxxie and Millie. Moxxie loves his wife, and he has literally never once been shown or implied that he would try to upstage her. Yeah, he's definitely got some inferiority going on, hes constantly being belittled by Blitz. Hes the show's punching bag, but i feel like it had never been implied that he hated himself more than he loved his wife. I hate that episode with a burning passion because how tf are you going to mischaracterise your own fucking characters.

I hate the way they did Lucifer. He should NOT have been some wacky, silly guy who just doesnt know how to reach out to his daughter. He's not bad! He's just anxious UwU. His entire character is irritating. Having a wacky fun character is fine, i love characters like that, but Lucifer shouldn't have been that character.

In the pilot, it was implied that Lucifer hangs over Charlie and his influence puts a lot of pressure on her, but then we meet him and hes just. A guy. Who doesnt talk to his daughter a lot. Which makes absolutely no sense. You could argue that they retconned a lot from the pilot, which, yeah, its all new voice actors so, sure. But then, why wouldnt they remake it in some way, in any way?

Not to mention that all the characters feel flat. Even in Helluva. In Helluva we get filler and backstory, but even then the characters dont change or grow. Quite literally the only good thing out of Helluva is Fizz. His arc and story is the only one that actually breaks from the formula of bad ex bad dad and his character actually changes from the lessons in the episode. I love Fizz for pretty much that reason alone.

Moxxie and Biltz have an episode where they promise to be nicer to eachother *and then they fucking don't?* They stay the *exact same* towards each other. If you're going to do that, then don't make a story based show. Make one of those slice of life, 10 minute episodes combined into one 20 minute episode that shows no growth, and is just there to be fun. Those shows arent bad, they just have a different purpose.

I've been so upset with the results of Hazbin Hotel. The pacing is awful, the characters have no time to change or grow, and their dynamics just arent interesting. It sucks because I saw a world where this indie show got on amazon prime (!!) And was amazing and did amazing things and set the stage for other indie shows to finally get big and then all we got was poorly written, rushed slop that feels like a huge kick in the teeth to anyone who cared about the show. Or, at least, it did to me.

[kittymizuki]

something i like about mizuki and rui's interactions is that the first time he addresses her with the suffix "-kun" when he's asking about her name? but in every instance after this, he drops it even though he uses it to address /literally everyone/ (including the cis girls, he calls nene "nene-kun" for instance). makes me wonder if mizuki herself voiced her discomfort with it after explaining that she's trans to him or if he picked up on this on his own? either way, i like that he's considerate towards her even if he doesn't fully Get her...

i also love that mizuki here immediately assumes (perhaps a little unfairly towards rui even if it's understandable) that there's some narrativization on rui's end towards her which is rooted in a voyeuristic fascination in her as a person with a unique gendered experience that ties into how she's often treated as an object or an exhibit by everyone? it also makes sense in the context of her genre awareness and performativity bc mizuki is /very/ hypercognizant of tropes and the archetypes she's often forced to occupy?

it's this the expectation of herself as a source of entertainment to others. trans girls often exist in media to be ogled at and othered. she doesn't see reflections of herself in the world. she sees caricatures. so of course she'd assume tht this is what rui wants of her. of course that isn't the case, but trust is so difficult. commodification of transfemininity and transfemininity as performance being widely seen as a source of entertainment and comedy are things that are very normalized in pop culture and media… even when trans girls aren't treated as jokes, they merely exist to reinforce the femininity of cis girls as innately more authentic. this is something mizuki absolutely knows considering her genre awareness and how much she loves to engage with fiction, but i think it's also interesting that in the context of her relationship with the other girls in niigo there's this conflict taking place in terms of being the manic pixie dream girl who purposefully elevates the cis girls by setting the stage for them and helping them address their problems (she does this in carnation recollection, mirage of light, our escape for survival and many other instances) versus using them to affirm her own femininity … we see this the most with ena, but i think this is present with mafuyu too especially in the way she represents mizuki's hope.

mizuki's introduction to the other girls in person also establishes that she's very openly genre savvy and goes out of her way to point out narrative conventions of 'isekai stories' and other media tropes relating to her social situations in a way that feels very deliberate as a parallel to being cognizant of societal prejudices and gender constructs and the way they're sustained through pop culture so she has to co-opt them for her own benefit bc so much of mizu1 is about mizuki using fiction and horror stories as a medium through which she can engage with herself and the other girl but i think this is meaningful insofar as it tells us that mizuki always understood how abuse and misogyny work bc it's been her experience for her entire life… it's interesting that she's one of the few characters in the cast that's an active Anime Fan (ie, going out to try and get merch, tickets, the soundtracks, etc), but the expression around it is /very much/ like trans culture, like how a girl is engaged with things. it isn't about figures or being the ultimate oshi, she enjoys the characters, she enjoys what goes into the creation, she's engaged with how she relates to characters over them being "attractive." there's so much… about her and her genre awareness and also her social awareness… it feels very special bc very few stories go out of their way to acknowledge the fact that trans girls are usually the demographic with so much perspective on women's issues, both bc of their own lived experience and bc they feel like they /have/ to be knowledgeable to prove their own abuse and make up for the taking up so much space in women's spaces? it's motivated by internalized guilt but it's also out of a genuine desire to connect with women and womanhood … so many anime fandoms are often sustained by trans girls and that's something i always notice whenever i'm on twitter or tumblr? magical girl and idol series fan spaces are always occupied by trans girls and the same can be said for things like gundam? mizuki is the type of trans girl who's more into the former than latter but it's still important to note, and it makes me wonder how much of an overlap there is between how that works in english speaking fandoms and japanese ones? i imagine there's a big overlap, but it's still something i'm interested in seeing something more concrete about.

but yeah, the way mizuki is so invested in the process of creation and connecting with the characters very much parallels how she's the MV animator/editor for niigo and how her entire work process is predicated around having an intimate connection with ena's art, kanade's music and mafuyu's lyrics to display them in the best way possible? we know that she was creating edits for her favorite magical girls anime before she joined niigo (and she probably still does in her own time). trans girls often connecting and finding worth in things that cgirls have cast off as childish as well - "i don't need this" versus "this makes me feel like i can have the girlhood i was denied." the lesbian contingent in these spaces is also very strong. i feel that a lot of cgirls get disillusioned and have to come back and address the internalized misogyny around it. magical girls being co-opted by misogynistic otaku also makes it difficult, but it feels broadly meaningful to actually engage with magical girls and how they are genuinely made for young women and even more than that. also the editing … the AMVs and stuff and how it's about fixating on a piece and going through all the clips, closely editing … she's probably rewatched her favorite shows and episodes so often that it's easy for her to think about what she wants to go where. i imagine she would feel self conscious actually sharing her thoughts but also … we know how mizuki is so active in the nightcord chat and how much she fills the space with ena so i wouldn't be surprised. there's a side story where mizuki invites the others out to see a movie bc she doesn't want to watch it alone, she wants someone to exchange thoughts with … it feels so personally driven, this rare chance of hers to … try to show herself to others? she never wants to tell others directly, but through fiction and other things…

mizuki is also a fan of minori but not once does she identify as Anything More than that and of course idols are relevant to mizuki, bc her being Genre Aware extends to anime/manga (specifically magical girls and idols) and films (mainly horror). in the broad context of 'oshi' as a term this is important bc mizuki likes her and thinks she's cool and admires her, but she sees idols as ppl ... she sees girls as ppl.

i also think about mizuki and "loneliness" here in the context of transmisogyny as a system to isolate transfems, to deny them safety and community and solidarity in order to enable everyone else treating them like disposable sex dolls. many ppl will pretend that the idea of transfems being uniquely threatening or predatory is something that came from genuine concerns about sexual safety (especially terfs with their "concerns" about "males in women's spaces") when the truth is that it's a deliberate campaign to convince ppl that transfems don't deserve to be treated as human beings, never mind women, they're degendered objects (aka second class women). ppl aren't /born/ believing that transfems are more dangerous than cis men; nobody independently arrives at this train of thought as much as they're conditioned into it by the patriarchy in order to do their part in maintaining the exploitation of transfems as scapegoats for the sins of cis men even if they're not conscious of it. this just makes them gullible agents of the system.

a huge difference between how 'average' misogyny & transmisogyny operate is isolation. if you're a cis woman who's the subject of constant misogyny, it's still possible to find community within cis women. transmisogynistic oppression goes unnamed, isn't shared by any peers bc transfems rarely know other transfems growing up, and is never called out by anyone even adults. it's true that all systemic violence masquarades as personal violence, but i think this goes doubly so for transmisogyny especially bc the 'mainstream' understanding of transmisogyny even in queer spaces is that it doesn't exist as long as you use a trans woman's correct pronouns or recognize them as women (and even then ppl will always make excuses when they're called out for using they/them and it's not even called transmisogyny; it's just transphobia).

when trans women exist around others they're either reduced to sex objects/freaks or mothers/manic pixie dream girls who take on the brunt of emotional labor in social dynamics, and i think all of this informs mizuki's idea of loneliness here? rui may be well intentioned, but there's an inherent power imbalance between them as a cis guy and a trans girl (even though she's pretransition, it doesn't change this) that contextualizes their isolation and this is something mizuki is obviously bitter about… it's true that her family is supportive and gives her refuge in the form of her own room to retreat back to when the world is too cruel to her, but this is simply not enough when the goal of transmisogyny as an oppressive systemic force is to erase transfems like her from public spaces, which in some part also explains why mizuki feels so insecure about her coping mechanism being avoidance and running away bc it probably feels like she's letting transmisogyny 'win', so to speak? despite how much we see her being treated like an object and an exhibit in incredibly dehumanizing ways as well as all the microaggressions from so many ppl (even the ones who care about her like an and rui) we never see any teachers standing up for her? all they care about is getting her to attend enough so she doesn't have to repeat a year and such, which reads more like they're doing bc it's inconvenient for /themselves/ otherwise to have to deal with her more if she's held back a year. the fact that she tells rui that she hopes he can find friends that he has more in common with than just solitude in response to him trying to tell her that being lonely isn't all that bad is so loaded bc rui is a cis boy, so there's no way he understands the kind of isolation she's had to endure and the fact that he's able to speak positively about isolation understandably makes her bitter for these reasons.

mizuki joking about 'losing' to rui at making friends even though she has "better communication skills" when by that she means that due to her lived experience as a transfem she's had to become very hypercognizant of social norms and conventions in order to mold herself into a very palatable expression of femininity to be accepted by others but her hypersensitivity towards these things still isn't enough and rui can surpass her simply due to the fact that he's a cis guy...

[saintsenara]

Do you think there is parallel between Peter and ron.

Fandom does Peter wrong. That is a fact. He is either absent or is present just for comic relief or is pure evil. But all those characterisation are simply cartoonish. As if written by a person who is living in la la land...

Peter, just like Lupin, we only know major things about him. But like not many people see lupin as a gray shade character only a kind fluffy guy, Peter is polarised to the bad one....

Ron similarly is often given the last place if how much of a good friend each person in golden trio was to be questioned. And that is a tragedy in itself because atleast for Ron we have so much material...

Infact for me, Ron will always be a person who has bigger heart than jkr's favorite mary sue-Lily Evans. She did what any good mother should do. But fandom never stops going on and on about it Or even Harry's sacrifice at the end is so much singed about...but then we have Ron, an 11 year kid who for the sake of defeating voldy, told his new Friends to leave him. He sacrificed himself at 11. Everyone was sure that he is risking his life...but no one i see ever gushes about that act of bravery. It is always about one Potter Or the other.

Peter too. I mean he won't have been friends with the other three for 10 years if they just tolerated him and vice versa. But making him evil kr stupid kr dumb Or hideous to look at in his childhood or teen years is like taking all his personality away and giving us just a shell of a person...

He did become animagi at 15 and that is quite a commendable magic. He is cunning to pull up his stunt as a spy....

Like war as sirius describes in gof is so dark and scary. And people forgot that big things make a person change.

Ron on the other hand had done quite a lot in his life time but often he is found to be judged for leaving his friends.

I believe that the only difference between them is that ron recognised his faults and made correction. Meanwhile pettigrew simply kept on walking on the wrong path he chose....

What do you think on this..?

thank you very much for the ask, pal!

i don't think this entirely works. ron gets cast by the fandom as a gluttonous moron who's also a bad friend primarily on account of the films - and as a bad person by people who want to ship hermione with other people but don't have the nerve to do this in a complex or interesting way - but the text never suggests that either harry or hermione think of him as being in last place in the trio.

indeed, when harry does think of himself as better than ron - when ron gets made a prefect over him in order of the phoenix - he feels horrible for his brief flash of jealousy and soon gets over it. on other occasions when he notes something about himself which could be seen as superior to ron - when he notes that ron got no outstandings at owl, for example - harry doesn't actually force a comparison which is designed to position ron below him. they end up doing the same newts, which is what harry - who sees ron as his partner in crime - cares about.

ron is also demonstrably harry's best friend, and harry tends to enable him and automatically side with him in conflict - it's an example of great self-growth that he doesn't cut hermione off in half-blood prince when ron does, since he's perfectly happy to do so in prisoner of azkaban. but he's also demonstrably hermione's best friend too. harry's relationship with her is, as he says, sibling-like, which doesn't just mean that it's not romantic, but that it contains a "you can't choose your family" vibe - he loves her fiercely, but he also finds her exasperating in a way ron doesn't, doesn't make any real effort to learn about her interests or include her in his, and is often quite harsh to her. ron - in contrast - does see his relationship with her as one of active choice.

this is why i never really like the idea that the trio and the marauders are meant to be parallels. on the surface, ron and harry should be the equivalent of james and sirius and hermione should be remus...

but they're not, because the clear dynamic of the marauders in canon is that they were a group centred around james. all three of sirius, remus, and peter clearly understood james as their best friend, and their relationships among themselves primarily depend on their understanding of their and the others' relationship to james. there is - i think - a credible case to be made that, if james was removed from the picture entirely, but not in a way that caused the profound trauma of the canon timeline [if he just moved away with lily, for example], the remaining three would drift apart.

james - of course - only understood sirius as his equal, his brother. peter is obviously someone he considered inferior to the two of them - albeit in a fond way, rather than a cruel one. he clearly thinks of him the way a teenager might think of their pre-teen sibling - someone you love and are happy to include in your social life if they do what you want, someone you also don't want to embarrass you in front of your cool teenage friends by letting them do what they want instead of following your instructions. remus is clearly someone he didn't think of as quite so socially inferior to him, but he also still seems to have understood him as peripheral to his and sirius' rampant codependence.

the trio doesn't have anything like this dynamic. even though harry is narratively unequal to ron and hermione - he is their leader, they are his disciples - the relationships across the three of them [harry's active choice to be friends with ron, harry's feeling that hermione is his sister; ron's active choice to be friends with hermione, his pseudo-familial relationship with harry] are much more equal than those among the marauders.

what i have been convinced by, however, is @whinlatter's belief that the best parallel for peter in the series is ginny:

[ironyscleverer]

Doctor Who as a Post-Colonial Metaphor

Recently I've been thinking a lot about how beautifully Doctor Who reflects the state of post-colonial British identity, and tumblr seems like the appropriate place to share my ramblings. So let’s see if I can explain in a way that makes sense.

I must start by putting on my obnoxious little film degree hat and reminding everyone that sci-fi is one of those genres that is highly political (as most things are, but scifi even moreso). It turns out it's pretty easy to get a sense of people's fears and anxieties by asking them to envision the future, and that's what sci-fi media does; it uses contemporary cultural standards and ideas to create a vision of what futuristic/advanced science and technology might look like, and how people might respond to it. In doing so, it ends up taking the social and political temperature of the time and place in which it's created.

As such, it's very, very common for scholars to analyze sci-fi media through this lens; even Frankenstein, arguably the first science fiction novel ever written, is often interpreted as reflecting cultural fears regarding swiftly advancing science and technology during the early stages of the industrial revolution. The Day The Earth Stood Still (1951) is another great, very blatant example of how sci-fi and politics can interact. In this movie, a Jesus-like alien ascends to Earth during the Cold War to warn the human race about their imminent nuclear annihilation. It seems corny to us now, but it's actually a great movie and I would highly reccomend it. It's rumored that the US Department of Defense read the script and Did Not Like It because the themes were too anti-war.

In other words, despite often being viewed as too “pop,” too goofy, and too unserious to have any deep meaning, pretty much any scifi story can be analyzed within an inch of its life using a meta social/political lens. It's not the only way to interpret sci-fi, but it's by far the most common. One must simply ask, “what does this vision of science, technology, and/or the future say about us as we are now?”

But anyway. Doctor Who. Disclaimer: I haven't watched the classic series so I'll focus on 2005 onward (still post-colonial so it still holds up, lol). If you've seen Classic and you'd like to chip in, please do.

Genre-wise, Doctor Who is more-or-less a space-western, a subgenre of sci-fi that incorporates Western elements—exploring new frontiers, engaging with unfamiliar civilizations, rogue figures, etc. Star Trek is the peak example of this, but there are many, many others.

Of course, the Western genre is dripping with colonialism due to its historical setting of the American West, and the racist depictions of Indigenous peoples. Space-westerns, consequently, also tend to address colonial topics. Sometimes space westerns are just as racist as normal westerns, but sometimes they use the genre reflexively, to question colonial ideals. A more progressive space-western might be more willing to “humanize” the alien cultures they meet, asking questions like, "how does one ethically engage with foreign societies?" or "When is it appropriate to intervene in a conflict?" etc.

Althought these kinds of questions come up regularly in Doctor Who, especially regarding its anti-war messaging (Time War etc.). These themes become doubly interesting when you use them to inform your interpretation of The Doctor, both as a character and as a symbol.

Consider this: The Doctor is the embodiment of an ancient and immensely powerful being with a bloody history. Their kill-count is quite literally somewhere in the quadrillions. Although they are a self-proclaimed pacifist, they are still constantly a perpetrator of death and destruction throughout the series. The Doctor, despite repeatedly and loudly choosing peace, can never seem to keep their hands clean of chaos and suffering. Doctor Who is about an entity that destroys everything they touch, sometimes on purpose, sometimes not. As an allegory for grappling with the legacy of British imperialism, I'd say it's pretty on the nose.

In this sense, not only is Doctor Who a show about colonialism, it is also a show about identity in the wake of colonialism. It's even in the name: "Doctor Who?" Who is the Doctor? What is their responsibility to the universe? What does it mean to be ancient and powerful and drenched in the blood of millions? How do they move on, become better, without falling into the same traps? What does it mean to be British?

These questions come up over and over throughout the new series, from the destruction of Gallifrey, to the Timelord Victorious, to A Good Man Goes to War, the Flux (arguably), and many, many other smaller plotlines I could mention. Even in the latest series with Ncuti Gatwa, the focus on adoption and family is in a similar vein—where does the Doctor come from? What does it even mean to be “from” a place? How much do your origins truly contribute to who you are and who you become?

How the companions fall within this framework is also interesting; if the Doctor is a stand-in for the nation as an entity, then the Doctor's companion, the everyday British person, is the stand-in for the populace. The companions are ever-changing, ever-evolving, constantly renegotiating their relationship with the Doctor. The companion's ultimate challenge is to find how they fit into the narrative of the Doctor's life, and try their best to come out the other end with a happy ending (ha).

Of course, Doctor Who is owned by the BBC, meaning it is quite literally nationally subsudized TV. It is all but directly approved by the British government. As a result, althought the show is actually VERY critical in some places, the Doctor is usually ultimately sympathetic; their good intentions tend to forgive a lot of the problems they've caused. The companion is usually charmed by the Doctors' seemingly endless tragedy of a life. This is a country's state-owned media company working with it's own self-image--it's inherently a work of self-reflection, and perhaps of self-obsession, too.

It would be easy to be cynical about Doctor Who as a product of the BBC, which is state-funded (but notably not owned or directly controlled by the government!). However, I tend to think that just writing it off as propaganda because of this is doing the show a disservice. Yes, there is an inherent privilege and self-centeredness to endlessly forgiving the Doctor, but that's also kind of the whole point; it's a show about coming to terms with one's horrible past. It's a show about learning to formulate a new sense of self. To demand that Doctor Who to be less self-obsessed, to not be about British identity when it is in fact a British show for Brits about Brits, is just a bit unrealistic.

Instead, I choose to believe that Doctor Who can and does use its privilege for good more often than not. The creators tend to be very progressive (as sci-fi so often is) and they can get away with a lot of very progressive messages in the guise of a silly sci-fi show for families. Most recently, I would point to s14e3: Boom, s14e5: Dot and Bubble as examples of thinly veiled rants about the evils of capitalism, war, racism, social media, etc. To ignore or dismiss Doctor Who because it has some form of institutional backing would be doing the actual stories and writers a disservice.

Finally, let me leave you with one last point; One consistancy throughout the new series that I find very charming is the positive effect the companions always have on the Doctor. Companions come and go, which is sad, but they're each special in their own little way, and they each change the Doctor, wearing them down a little at a time. The Doctor is consistently at their worst when they are alone, removed from the people that make them want to be better.

Very often the companion's parting message for the Doctor is "don't be alone.” This can be extrapolated to mean: don't forget we exist. Don't forget to be kind. Even if you can't help your legacy, even if you can't wash the blood off your hands, you can always keep striving to be better. Keep someone around to remind you to be better. And the Doctor, more often than not, does. Because ultimately it is the companions, us the people, that make the Doctor who they are.

It’s this special brand of relentless optimism, this indomitable belief in the goodness of people and the power of that goodness that always brings me back to Doctor Who, one way or another, despite all its flaws.

Edit 11/29: corrected some info about the BBC per the comments!

[rowayneau]

Hazbin Hotel x Twisted Wonderland

An idea for an AU where the whole Hazbin Hotel ended up in Twisted Wonderland. The whole hotel(after ep 2) is suddenly transported to Night Raven College and somehow combines with The Ramshackle Dorm. Everyone is freaking out and is wondering where the hell are they, and who is this human kid (Yuu) and is that a talking cat?!?! Why are its ears on fire??? 

There will be a lot of chaos before everyone settles down. I can see Crowley will try to take advanta–ahem, show his kindness and let them stay on campus in exchange for helping out with the school.

Also this is a Hogwart/Disney school?? Where villains are being worshipped as heroes and history is not what it seems. I can see Charlie being a Disney fan will feel conflicted about this? Was their history wrong or the movies wrong? Not all the story is what it seems.

Charlie will learn a thing or two about perception in stories. How the story is being told depends on who's telling it, maybe her parents' story of hell might not be as accurate as they tell her.

But who cares about that right now, this is a magic school with wonders and amazement and new opportunities. But they are stuck being staff in a school full of douchebags kids with no pay. Yayyy…….. 

There are assigned different jobs and spread out across campus

Charlie: School's official therapist/counselor. Usually has no patients unless is an Overblot victim or Yuu coming in from an Overblot incident or dealing with Crowley’s bullshit. She is also Yuu’s primary caretaker, Crowley is irresponsible enough to leave Yuu on their own to fend for themselves doesn’t sit well with Charlie. So she stepped up and became a big sister to Yuu.(Which is a big relief. Have you seen what this kid went through in the game, especially in the later books?)

Yuu: Charlie assistant therapist/Crowley's gofer/Hotel gofer/Grim's caretaker. The unfortunate isekai protag who ends up cleaning up all the mess/incident at school. If that's not bad enough, with Ramshackle combining with the Hazbin Hotel, they will also need to deal with the Hazbin crew too. Will not be able to catch any break. At all.

Vaggie: School security and second gym coach. Will be extra protective of Charlie and super on edge due to being in a new environment and in an all boys school. Hates Coach Vargas as he reminds her of Adam and will be very strict towards the students and training them like a drill sergeant

Angel: Health/Sex-ed teacher. How did Crowley approve of this? No one knows. He is the teacher that everyone avoids but has to see due to being mandatory. Very uncomfortable and in way too many details of sex-ed during his class. Luckily for them, the students are all underage and he won't go that far. Except for Leona who is currently 20 years old. Yeah.....

Husk: School cafeteria worker. No different than working at the bar in Hotel but instead of hearing the Hazbin's moan and bitch about their problems, he gets to hear students moan and bitch about their problems. Oh and no alcohol since it's a school and all.

Niffty: School Janitor. Everyone is afraid of her and is cleaning up after themselves just to avoid her. Students with bug-like features or resembles it hides from her.

Alastor: School Announcer. This creepy fuck took over the school broadcasting system and turns it into his own radio studio. Keeps tabs on the student body and makes announcement that either is useful or just fuck with the student body. Very interested in this world of magic and trying to study them for his advantage. He is also looking into Unique Magic and is particularly interested in Azul's.

Sir Pentious: School Repairman. He mostly causes explosions with his inventions and his egg bois can be found all over campus. There are just so many of them, like an Easter egg hunt. His invention is interesting enough and everyone likes an airship with a death ray attached to it.

I can imagine in this AU they will be stuck until all 7 Overblots are resolved and then maybe they will find a way back to Hell. Along the way, they will get involved in a lot of shenanigans and start to grow fond of the kids. 

They can see the kids do their best, but they always lose. What surprised them is that even with constant failure and loss, they never gave up. The kids are so passionate about their dreams & ambitions when they fall down and crawl back up no matter what.

In a sense, they can see how these kids are similar to Charlie with her dreams. Maybe there is more in common to them in this world than they thought.

[whencyclopedia]

Portuguese Brazil

With a wealth of natural resources, Brazil was by far the most important colony in the Portuguese empire and was, at one time or another, the world’s leading producer of sugar, diamonds, and tobacco. Colonised from the 1530s, most settlements were coastal towns until the interior was exploited bringing further conflict with the Amerindians.

Importing a massive number of slaves from Africa, Brazilian society became multicultural but remained dominated by white Europeans. The colony was repeatedly threatened militarily and commercially by the French, Dutch, and British, but Portugal held on to its jewel in the colonial crown until Brazil achieved independence in 1822.

Europe Discovers Brazil

Vasco da Gama (c. 1469-1524) famously sailed around the Cape of Good Hope and on to India in 1497-1499, giving the Portuguese access to the spice trade of the East. The Portuguese followed this up by creating an empire of trading ports that went from East Africa to Japan. One of the by-products of da Gama’s epic voyage was significant for Brazil on the other side of the world. Da Gama had pioneered a new route to sail down the Atlantic Ocean to gain favourable winds. It was a risky strategy that involved sailing far out into the mid-Atlantic. When Pedro Álvares Cabral set off to repeat da Gama’s feat in March 1500, he sailed too far west and accidentally 'discovered' Brazil (although the visit may have been planned by the ever-secretive Portuguese). Cabral stayed eight days at Baia Cabrália where he met Amerindians. A Spanish sailor, Vicente Yáñez Pinzón had perhaps been the first European to sight the Brazilian coast the year before, but it is not clear where exactly he went. In any case, it was the Portuguese who claimed Brazil for their own because, as had been agreed with Spain in the 1494 Treaty of Tordesillas, it was within their sphere of influence. A second Portuguese expedition, led by Gonçalo Coelho, explored the Brazilian coast in more detail in 1501. Another famous explorer, the Florentine Amerigo Vespucci (1451-1512), visited in 1502, and he gives the following description:

This land is very delightful, and covered with an infinite number of green trees and very big ones which never lose their foliage, and through the year yield the sweetest aromatic perfumes and produce an infinite variety of fruit, gratifying to the taste and healthful to the body…and the fields produce herbs and flowers and many sweet and good roots, which are so marvelous…that I fancied myself to be near the terrestrial paradise.

(98)

The name Brazil, which first appears on maps from 1511, may derive from 'Bresel wood' which was a popular hardwood of reddish colour exported from India to Europe in the Middle Ages. A similar type of wood was common in the forests of Brazil. Alternatively, the source may be brasa, the Portuguese name for this dark redwood and its dye which means 'glowing coal'. One of the early successful exports from Brazil was these hardwoods, used in everything from ships to violins. This timber attracted private Portuguese traders to Brazil from 1502 who established the first trading station (feitoria) north of Rio de Janeiro.

In 1511 the Portuguese Crown, wary of interest from Spain, made an official but secretive move on Brazil. João de Lisboa and Estêvão Froes commanded two caravel ships which explored the Brazilian coast. Spain sent a fleet to do the same in 1515. Both nations were looking for a route around the southern tip of the Americas and access to Asia. The Portuguese explorer Ferdinand Magellan (c. 1480-1521), in the service of Spain, was the first to achieve that feat on his 1519-22 expedition that circumnavigated the globe. Spain may have gained access to the Pacific Ocean, but it was Portugal that got to work on colonizing Brazil.

Continue reading...

[buubonita]

One last complaint before I go to sleep because I'm in too much pain but I really wish there were more serious works that touch on Dream and Nightmare's complicated relationship properly WITHOUT incest involved. It's absurd how many stories I had to avoid because of this and it really makes me sad because you have something so interesting to work with. I like the dynamics the two can have with each other but Dreamtale's strong point IS precisely their relationship of brotherhood in conflict. LEAVE THEM HAVE A NORMAL BRO RELATIONSHIP I AM BEGGING ON MY KNEES.

I have to pray that every time an interesting story comes up on ao3 there isn't something weird with the tags.

Ah crap.

[georgeharrisonsmiling]

This isn’t exactly a George related ask but I saw your tags on the post where John and Yoko said George wasn’t intelligent, and one thing I’ve found very interesting as I’ve watched more John interviews and then the reactions of the other Beatles is how much Grace particularly George and Ringo gave John. I saw an interview recently where John called Ringo’s music embarrassing and said he felt embarrassed when working with him (post Beatles solo stuff). There’s a lot of talk about how John and Paul were publicly spatting throughout the 70s, and a lot of attention from the 80s onward on Paul’s comments and defenses of John, but I see practically nothing from George or Ringo. With George I think part of it is he probably didnt think he had as much of a “right” to John’s legacy as Yoko or Paul, and thus didn’t insert himself as much, but it’s also interesting how George would seemingly not publicly comment but internalize John’s words (I mean, the whole debacle of John being left out of I Me Mine after countless comments about how no one’s contributions to his/pauls songs counted plus at the time saying he didn’t want to be involved with George is a great example)

As you said, John mentioned his embarrassment with some of Ringo's work (especially Ringo's first album) and he also said in 1980 that if he made a bad song, he could always give it to Ringo. Though honestly between lawsuits, diss songs and affairs, a couple of comments were nothing in comparison so Ringo opted to keep the peace and decided to focus on the many nice that John did say.

Maybe it's because I haven't actually investigated a lot about them but I don't think that Paul and John were publicly feuding that much in the 70s. Most things calmed down after ‘How do you sleep’ and then John didn't give many interviews for years. We know that John had strong opinions but most of them came out after he was killed. The conflict in later interviews was more about who wrote what in the Lennon-McCartney partnership but even then his comments weren't that bad.

I don't think it's mentioned often how jealous John got about George's career not only because of the commercial success of ATMP, also of the image that George was projecting at the time. Just one example: John was the one who quit the band first but people don't often say that "John was freed" when the band broke up the same way we talk about George. I think that jealousy is what made him lash out so much to George in interviews. Another factor is of course the Lennon-McCartney myth. Paul was allowed to be John's rival because the two of them were the extraordinary talents but George was never supposed to be on the same level. The other thing I think annoyed John was just how well George survived and thrived without his help.

George definitely gave John a lot of grace. George mentioned once that John would apologize in private sometimes so I guess that was one reason. Another one is that George disliked the gossiping around the Beatles so much that George didn't make many statements that he didn't mean while John was often changing his mind. I think that George just preferred to keep their relationship private and answer only what he was asked to.

If John had lived, that playboy interview would probably have impacted their relationship in some way. One important thing is that George was never ashamed of "I me mine" and he always defended his choice of not mentioning what John wanted.

[thegreatcaptainusopp]

The Water 7 Fight: An Analysis

So. Water 7. There’s a lot to be said about the Usopp vs Luffy fight, their motivations, and the right vs wrong of it all…it’s a complex situation, and so I wanted to share some thoughts:

The Set Up

The growing tension and activity that led to the fight between Luffy and Usopp is so so well explored in the scenes right before it happened. Of course, events are kicked off by Usopp’s abduction by the Franky Family, and his subsequent beating and losing the money. This, on top of the many many clues sprinkled throughout the early bits of the arc and earlier arcs regarding his own feelings of inadequacy as well as his connection to the Merry, is the straw that breaks the camel’s back for Usopp in my opinion. This was one of his deepest fears, finally realized: he felt that he had finally crossed the line into more than just useless but an active liability to the crew. He admits as much to Nami when he sees her: he’s ashamed more than anything else. He can’t face the others.

Nami’s reaction in this moment is also really interesting. She sees Usopp at possibly one of his most vulnerable moments ever, and she reacts so kindly: she tells him it’s not his fault, that it’s going to be okay, that she’ll get him some help. It’s such a mature and responsible response and out of everyone here I think she reacted most rationally to this whole situation. I think if she had been a little more confident she could’ve engaged in some really good conflict resolution practices with everyone.

At the same time, everyone slowly gets the bad news about the Merry, and their differing reactions are interesting: they’re all upset, and openly discuss that. Sanji even notes that Usopp is going to be particularly upset to hear this, so they’re all already aware that this is going to be quite bad. What’s interesting, though, is Luffy’s reaction: he goes through a similar emotional journey that Usopp does when getting the news, but their ultimate destination is what differs greatly here. I think the difference here is probably down to two factors: 1. Luffy does not have the same particular insecurities that Usopp does and 2. Luffy is the ultimate authority in the decisions here, Usopp is not.

Then, Usopp picks himself back up, badly wounded, to return to the Franky family to try to get the money back. This is a big moment too, because it showcases that he is the type of person to fight even when he knows he isn’t going to win, which is what ends up happening here. Even the moment where he burst in really felt paralleled to the moment he stares down Luffy in a fight later: it’s a really good set up.

And then he gets injured even more, and chopper has to check if he’s even alive when they find him, which is important to note because his physical condition is just dire right now.

I found the reactions of Luffy, Zoro, Sanji, and Chopper interesting too because they get super angry, obviously, partly because of the money but more because of how Usopp is hurt. In one sense it’s funny that they just left him there while they took revenge for him, but on another it’s a little tragic because that wasn’t what he needed in that moment. I don’t think he ever finds out about it either if my memory served me correctly. There’s another layer of irony in the way they all leap to fight to save their crewmate but we’ll get to that later.

I also think it’s notable that Luffy locks in his decision to get a new ship here, right after they destroy the Franky family’s hideout. I think he felt a sense of responsibility for what happened, maybe believing that if he’d been more decisive in his leadership, then Usopp wouldn’t have been this badly hurt. Which is also just oof. Extremely ironic.

So they take Usopp back and it takes him a while to even wake up, and when he does he’s all apologies. The physical framing of it is interesting too, because he’s on his knees and hugging Zoro’s legs and stuff. He’s not outwardly expressing his shame like he did with Nami earlier but it’s close. He’s not really standing up at all.

And everything seems to be going ok, and Usopp is asking about next steps and then…and then Luffy drops the bomb. And that changes everything.

The Confrontation

Usopp starts the whole argument in full denial. It’s a pretty classic gamut of emotions here: he goes full tilt into the cycles of grief, starting with just straight up denying that Luffy would do this, to bargaining by asking if he was at fault in this situation and trying to convince the others to let him continue fixing the ship. He’s clearly feeling a lot of guilt here: he believes he is directly responsible for the Merry’s “death” as it were and is scrambling trying to take responsibility for fixing her. I think everyone else was taken aback by the level that this guilt went and were wholly unprepared to deal with it. Luffy yelling that he isn’t a carpenter I think was him trying to talk him down but ultimately had the exact opposite effect: all Usopp heard was he had no expertise in this and was useless, and may have even harmed Merry further or out her in this situation to begin with.

This snaps Usopp into the anger stage, and this is where it really starts to get ugly. It’s notable to me that he’s the one that escalated by grabbing at Luffy’s shirt and yelling at him that he excepted better, which were intended to hurt I think. Luffy though gives as good as he gets, and is the one that actually turns the confrontation violent: knocking a grave injured Usopp down. In short: he doesn’t descalate or calm the situation, but instead adds to it. The way his temper is so hair trigger in this scene is extremely interesting to me.

Nobody else intervenes either (at least not yet). All of them try on occasion to tell them to calm down or stop fighting but not more than that. Not even Zoro steps in at this stage, which I found super interesting. Nami tries to tell Usopp at one point that Luffy had a similar emotional reaction ti him about this choice, but Luffy stops her. Funnily enough I think if he hadn’t she may have been able to calm things down a bit here.

It’s not until Luffy is right about to tell Usopp to leave, it’s practically already left his mouth, that someone actually steps in here. And it’s SANJI. Sanji, who knows very well how it feels to be told you don’t belong somewhere anymore. Sanji physically knocks Luffy back and he does it with FORCE, and it’s him who desperately tries to wrangle some control back of the situation. And the thing is: it almost works! Everyone listens to him, nobody objects to his methods, and Luffy actually starts to reign himself back and apologizes!

But it’s a bell that can’t be unrung at this point. Usopp has heard what he heard and has made his decision. What’s interesting here though, and what I realized upon rereading it, was how self aware Usopp was at this stage about the whole thing? Like he was fully aware that he was substituting himself in for the Merry and straight up tells the crew that he thinks he’s useless and that they should get rid of him in the same way that the did the ship. Like…he’s not subtle at ALL about this, and about the reasons why he’s behaving the way he does. He knows exactly why! And he tells them! I honestly credit him for that in a way…he’s spiraling here but he’s aware of it, and he’s aware of exactly what he’s feeling and why. The way this fight is remembered and discussed in fandom I feel is he’s characterized as throwing a tantrum about it but this really isn’t what happened here at all.

Nobody really pulls him back on his statements: I think they were too shocked here to really know what to do. Chopper is falling apart emotionally, Nami is trying to get him to hang back and wait, Sanji even starts yelling at Usopp to come back. Zoro…Zoro says nothing, which interested me a lot too. He does however have a flashback to him being the one to invite Usopp on board, which I have a LOT of thoughts about. From Alabasta, Zoro has been privy to a lot of Usopp moments that were important turning points for him: carrying dalton up the mountain, expressing doubt after long ring long land, etc. I think he’s thinking of those things here too. I think he’s feeling a sense of responsibility here that he doesn’t know what to do with.

Luffy says nothing too. He looks angry, which I think is a cover for upset, but his silence is fascinating. He’s letting things play out here because I think he’s still in fight mode but also because I think he’s letting Usopp make his own choices here, as he should. I think he’s trying to be captainlike here. But…also not quite. He’s spiraling just as bad as Usopp here, imho.

And then, Usopp issues his duel request. There’s a few interesting bits in between where Nami is trying convince Luffy to not go through with it, but he’s very dedicated to doing so anyway. She’s telling LUFFY to apologize which is interesting thinking of the fandom recollection of this fight. She’s trying conflict resolution here but it’s a bit too late for that.

I also like that Sanji and Zoro are fighting about this too, blaming each other for what happened. I think it’s a form of tension release for the two of them, and Nami stopping them shows it’s still a bit of a sensitive time for it anyway. Which leads to:

The Fight

This fight is one of my favorites in OP, insofar as actual fighting techniques/approaches go. It’s unique to the series and so emotional and just hits different. Luffy’s later fight against Sanji hits similar notes but this one stands out specifically because it’s Usopp, who is very much not a fighter in the same way Sanji is.

For one, Usopp’s a ranged fighter, and he’s fighting Luffy at close quarters. He’s already at a MASSIVE disadvantage and he knows this, Luffy knows this, the straw hats know this. It’s his fight to lose, and he picks it anyway. And I think this is what’s so key to this entire conflict, from start to finish: Usopp KNEW he was going to lose. He knew it from the start. He knew Merry was doomed. He knew that from the start too. But he did all of that anyway. Why? I think the why is so incredibly nuanced, from loyalty to pride to fear of rejection to abandonment issues. But it also highlights his tendency to bullheadedly get things done if he thinks he’s the only one left who hasn’t given up on something. And I think that’s so important to him as a character, and it’s this realization and this specific fight that made Usopp into my favorite character. It’s also why I don’t think there’s a black and white wrong and right side to this conflict. From one end, Luffy’s the boss so they need to follow his instructions without question. From another, I like it better when Luffy’s challenged by his crew for both story and character purposes for all involved. I think Luffy needed this to happen, not because he needed to assert his authority as captain, but because he needed to fuck up as a leader and learn from that.

For another, Usopp is also on the brink of collapse this entire time. The fight ends when Luffy gets a single hit in, which means Usopp was on his last legs and he still went through with it. That is super admirable to me and a testament to his super tanking abilities and determination when it counts. He had the deck stacked against him here and he still went for it.

Now: fight techniques. Usopp took this fight seriously, like for real seriously. He pulled every weapon out of his arsenal and went for it, from lying to caltrops to dials and actual honest to god explosions. It was interesting to see the crew be so surprised at him doing so well at the start. He even uses Luffy’s care for his injuries against him which was a notable part of it for me. The impact dial bit is one of my favorites: it’s such a powerful moment to me.

And then he loses, and is probably actively dying as a result lol. Everyone’s absolute devastation, expressed in different ways, was really fascinating to watch. Chopper just trying to run over and fix things and Nami unable to watch hit hard. Zoro being super composed on the outside and holding Luffy together but…yeah he’s not pleased about this. Sanji telling chopper not to go because Usopp doesn’t need pity. Luffy crying…which always is very emotional. Them giving Usopp the ship and moving on to demonstrate that they took all his words seriously but also to acknowledge his dedication to the Merry. Ooof.

Anyway this arc physically hurts. 10/10 experience. Destroys me every time.