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doubleaspectrum · 4 months

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Ouran High School Host Club Ep. 1 Review

I’m attempting something new. I like making formats and writing reviews of episodes for shows that my friends recommended to me. So, I’ve made a review format to help me cover a show’s big points.

Here’s my first attempt with it using Ouran High School Host Club. Beware of spoilers.

What Am I Reviewing?

Ouran High School Host Club – Episode 1: “Starting Today, You Are a Host!”

Have I Seen This Before?

I have seen this episode twice, but I never completely watched the series.

Which Character is the Strongest in Terms of Writing?

There’s room to argue for if it’s Tamaki or Haruhi.

Why It’s Haruhi:

She’s the protagonist and focal character; this necessitates her having the strongest writing.

The episode focuses most on establishing her identity, backstory, ideology, and thought process. She’s going through the Hero’s Journey, and is therefore going to be the most subject to challenges that will change her nature. This episode even suggests how she’ll be changed since she starts off disapproving of the Host Club and Tamaki in particular, but ends the episode saying the club is “not so bad.” This will likely reflect in an overall arc wherein her opinion of them raises and she becomes genuinely loyal to them.

Haruhi also carries some measure of power with her view on gender being ahead of her time. When I first saw this episode, I viewed her ideals as a good form of queer representation, specifically regarding gender apathy. However, I’m aware that Japanese and Western views do not match. And I read on TV Tropes that the original author had no intention of making Haruhi a queer figure. But I think the original view is worth contesting because I believe that it is a good thing when a character is open to interpretation. Leaving interpretation open encourages the audience to think; and when we can put our own ideas into an existing narrative, we show that we’re invested in it. This is why headcanons and alternate interpretations are important.

Why It’s Tamaki:

On Tamaki’s side, he’s the figure who is most involved in Haruhi’s journey. While the focus is on her, he still gets a fair share of attention. We also get a good sense of how he thinks and feels due to: his willingness to argue his ideals against Haruhi’s, his participation in major events, and his wide range of emotion. It’s Tamaki’s emotional range that feels the most important to showing what kind of person he is, because he doesn’t have the same response to every situation. This is good for establishing a three-dimensional personality.

Both Characters’ Presentations:

If I’m looking at how both characters are represented, I’d say that Tamaki is a good example where a character’s nature is subject to “Show, Don’t Tell.” His emotional range does a good job of showing how he thinks without needing to break the story with any narration to explain anything.

On the other side, Haruhi is a good example where her character is told. Haruhi’s character presentation relies on her inner monologue and her honesty during conversations, and this is a viable writing solution. The immersion isn’t being broken with the author jumping in with any notes to explain anything, and the responsibility still stays on Haruhi to present her character. People say that resorting to “Tell, Don’t Show” is a cardinal sin in writing, but Haruhi shows how you can tell the audience what they need to know in a believable context without destroying the story in the process.

Which Relationship is the Strongest in Terms of Writing?

Tamaki and Haruhi. This is easy to identify since both characters are the strongest in terms of how they’re written, and are the only ones to spend the most time together (outside of the twins). It also makes sense that their relationship is given the most time since they are being set up as endgame love interests.

In terms of praiseworthy elements, I liked when they disagreed about the importance of inner beauty and outer beauty. Being ideologically opposed to one another is a good set up for drama because it presents both characters as a challenge to each other. Their opposing views necessitates a conflict between one another while also raising the question of how they’ll get together, or if they even can at all.

That being said, I’m not ignoring that Tamaki and Haruhi get along when Tamaki shows his more supportive side to her. This keeps the believability of being the endgame couple alive while allowing the conflict to persist until the actual issues behind it are resolved.

Which Character is the Weakest in Terms of Writing?

Mori. Being introduced as the “wild type” by Tamaki wasn’t good for Mori, especially because the twins are identified as the “devil type” which is a blanket term that “wild” falls under. Moreover, Mori has no “wild” attributes and his actions run contrary to such a description.

One of the first actions Mori takes is to bring a sleepy Honey into the clubroom after having been at a sports club. This doesn’t indicate a wild person! It indicates a responsible one! Being paired with Honey also doesn’t help because such a pairing would indicate a brotherly relationship in which Mori is the responsible older brother for the childish younger Honey.

Being responsible is also a problem in and of itself since such an attribute is best utilized in a leadership position. But Mori is not presented as a leader, Tamaki is.

This makes it unclear what Mori’s placement and dynamic in the club and the plot is supposed to be. This is not a good thing from a writing perspective. If you can’t accomplish establishing your place in a fictional world, then why do you even exist? It also breaks immersion because the question would become “Why would the writer include someone if they had no idea what to do with them?” As far as things go, Mori could be removed and nothing would change. I’ll just have to hope that what I haven’t seen of the series will prove me wrong.

Which Relationship is the Weakest in Terms of Writing?

Mori and Honey. As I stated before, this relationship hasn’t done a good job with establishing Mori’s character since Tamaki’s claims about Mori contradicts how the show presents him. There’s also the issue of Honey’s own character being one-note. We don’t see anything from Mori that challenges Honey as a character or shows a new aspect of Honey’s character. If neither character can do anything for the other, then I can’t see the point of them spending time together.

Is the Conflict Praiseworthy, or Poorly Written?

There are two conflicts. One obvious, and one subtle.

Tamaki vs. Haruhi:

The subtle conflict is between Tamaki and Haruhi. They are established as opposing opposites due to their differing classes and differing views on beauty. Haruhi places no value in outer beauty and believes that inner beauty matters the most, while Tamaki dismisses that idea believing that outer beauty matters more. I can see throughout the episode that both sides are presented as having a point.

There is nothing negative portrayed about Haruhi getting a makeover. She’s even grateful to have received a new uniform out of the deal, and by the end of the episode even shows some appreciation for her new place in the Host Club. This validates Tamaki’s claim that outer beauty matters since it acts to Haruhi’s benefit.

The clever aspect of Haruhi’s validation is that it ties into the obvious conflict.

Ayanokoji vs. Haruhi:

The obvious conflict is between Ayanokoji and Haruhi. Now, this conflict is very straightforward. The morality is black and white and the characters are opposite in their natures. Honestly, the biggest point of the conflict isn’t the conflict itself but how it ties into Haruhi’s conflict with Tamaki.

When Tamaki confronts Ayanokoji, he makes a point of stating that her beauty is undeniable but her behaviour is unacceptable. This is important because he’s validating Haruhi’s claims that inner beauty matter more than outer beauty. He prioritized Ayanokoji’s lack of inner beauty over her outer beauty and used that information as the basis for banning her from the Host Club. I’m not sure that Tamaki even realized that he was saying Haruhi was right, but that is what he did.

Ansering the Original Question:

I do like the presence of the subtle conflict and how the obvious conflict ties into it. The obvious conflict feels like it has more power because of this. If the subtle conflict didn’t exist, then the obvious conflict would be very “by the numbers” and would have no other value. So, this conflict can be praised.

Is there Anything Worth Praising or Criticizing not related to the Above Points?

The visual symbolism is worth praising. I enjoyed realizing the significance of the lightbulbs the first time I watched this episode. It makes subsequent viewings feels like they have more value because I understand everything now. It’s the “Rewatch Bonus” as the tropers would put it.

There is a second visual aspect that I discovered during this viewing. It was the moment when Haruhi opened the Host Club’s doors for the first time and a swirl of rose petals flew out. When I saw that, I realized it suggested the image of a portal. A portal into the Host Club would invoke the image of Haruhi stepping into a special world, which is a key aspect of the Hero’s Journey. I doubt the animators had this level of depth in mind when they made that scene, but I still like the idea.

What Writing Lesson Can I Take from This Episode?

Well-written dialogue and inner monologue are a good way not to over-rely on “Show, Don’t Tell.”

Also, minor conflicts are more meaningful when they aren’t kept in their own bubble. Try to tie a smaller conflict into a bigger aspect of the world or the characters.

#ouran high school host club #ohshc #ouran host club #analysis #anime review #episode review

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madhogthymaster · 3 months

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The Fishmonger Example: On The Distinction Between Backstory, World-Building and Lore

I tend to be a stickler for grammar, structure and words having meaning, which is a frustrating prospect when you live in a world (The Internet) increasingly bereft of basic literacy. You cannot even begin to complain about terminally online children hooked on LORE videos growing up to be media illiterate when they do not even understand what LORE is and how it works in the context of a narrative. To make you understand how strongly I feel about this: I used to be the former film student guy who would get legitimately mad at random strangers using the word Meta to mean "Self-Referential" when you needed to attach it to another Goddamn noun in order for it to effectively mean what you wanted it to mean, because it's a prefix! Meta, on its own, translates from Greek to "After" or "Beyond." It's epistemologically used to signify "About" in reference to nomenclature attached to it. What you want to say is "Meta-Text" or "Meta-Textual." Everyone is wrong about it and it drives me insane! I am sorry but this is very important to me.

Anyway, this is going to sound both condescending and pedantic on my part but I am legitimately invested in helping people understand the important differences between such terms as Backstory, World-Building and, in fact, Lore, when it comes to their respective roles within a story. To that end, I devised a simple teaching method I like to call The Fishmonger Example. Here's how it works.

Let us envision a basic scenario where you are writing a story and it's about a character going out to town in order to buy fish. What's the backstory? Mother asked the protagonist to go out and buy fish. By providing this knowledge, your reader learns both about the character's motivation to buy fish and the narrative context that informs the plot going forward. Backstory is, as the name suggests, a story event that takes place before the current plot and it's meant to work as its foundation. It can be anything from a big expository voice over introducing the history and stakes of a fantasy epic (backstory for the overall fiction) or it can be about the personal, pre-existing journey of your character which, in turn, shall inform their arc in the story.

Now, let us create a situation where the protagonist, on their quest to buy fish, does not know where to find fish in the first place. So, they ask around in town and they get eventually pointed to the "mysterious" Fishmonger. They learn The Fishmonger is the one you want to see if fish is in your future. They also learn where to find The Fishmonger so they can fulfill their destiny of finally purchasing the Holy Meal in the name of their queen - as in, mother. This is what we call World-Building. World-Building is a narrative tool that allows your reader to learn more about the setting and the characters inhabiting said setting. Its implementation within the story should come organically as the protagonist engages with the plot at hand and as the readers follow their exploits, becoming increasingly more invested in this sacred quest for fish. The trope of a character not knowing vital information is often used as an excuse to introduce elements that the reader requires to know in order to better grasp the fiction you have created. World-Building can be both heavy-handed or subtle depending on how good of a writer you are but if you managed to capture people's interest in your diegesis then I would call that a success.

So, you have found The Fishmonger and procured the fabled fish of legend. However, for some reason, The Fishmonger is feeling chatty. He really wants you to know all about his noble profession. As such, he hands you an old, untethered tome titled THE COMPLETE HISTORY OF FISHMONGERING! written by a man named Fishbert McSharkton III (esquire). This book does not help your character in their quest for fish procuration in the slightest. Your reader does not need this book in their life as it adds nothing meaningful to the plot. In fact, one could forget about this awkward exchange in its entirety and nothing of value would be lost. Alternatively, one could choose to read the tome if they were really, inexplicably fascinated by the Art of Fishmongering. In either case, THE COMPLETE HISTORY OF FISHMONGERING by Fishbert McSharkton III (esquire) is superfluous reading material. That is Lore, in a nutshell. Lore is a collection of notes and anecdotes that may or may not exist within your fictional world as inessential extra. It is neither knowledge about the setting actively conveyed through plot progression (World-Building) nor important background information for your main plot (Backstory) but merely something you might feel inclined to treat as an Easter egg for fun. It's not an element that exists for the benefit of storytelling, it's an element that exists for the benefit of your more hardcore fans who are REALLY into Fishmongering - to a, frankly, distressing degree. Mind you, there is nothing inherently wrong in enjoying LORE but if one becomes unreasonably invested in it, they might just run the risk of missing the forest for the trees. The forest being the actual text before them, that is.

To summarize:

Plot = character goes to buy fish.

Backstory = character's mom asked them to go buy fish.

World-Building = character learns where to buy fish and from whom. The setting is more fleshed out.

Lore = Fishmonger hands character a book about Fishmongering. It does not add anything to the quest for fish but it's there if one should care about Fishmongering.

I sincerely hope this example was useful to you or to one of your LORE DEEP DIVE videos addicted friends. This might also help you distinguish good writers from complete hacks. It should go without saying that I do not intend for this to be read or interpreted as a "legitimate" academic tool of study but, rather, as a beginner's guide of sorts: a way to get people started on their own journey, so to speak, but nothing more educational than that. After all, I am merely some manner of living organism inhabiting an abstract space. You should not get all your learning from random people on the Internet is my point. There is definitely something valuable to be gathered from using easy-to-understand examples or analogies to get the ball of Knowledge rolling but, as my own academic field is more broadly about media literacy than traditional literacy, I am certain that my "Quest for Fish" could use some improvement. I encourage you to discuss, add, contest or detract from it, craft your own theories or teaching methods, get a discussion going. Go crazy! I will see you all at the Fish Market of Ideas...

...

That was a clever way to end this article, right? RIGHT!!?

---

Find Madhog on:

YouTube

Twitter

Bluesky

Blogger (blog archive)

Also, here's a helpful website: https://arab.org/

This is where The Fishmonger Example originated.

#madhog thy master #the fishmonger example #lore #backstory #world-building #fish #deep dive #meta #lesson #media literacy #literacy #LORE #LORE DEEP DIVE #Scott Cawthon is a Hack and a POS #easter egg

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absolutebl · 2 years

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Why I Don’t Love Body Swap

I really am not a fan of body swap (or spirit possession), and before you ask, yes I include Big in this. I find it tests the actors’ a little too much, and there are very very few actors who are aware enough of their own bodies to carry the performance requirements off - generally you need to come from dance or physical comedy. (I talk about this kind of acting ability with regards to Saint.)

I should preface this by saying, Vice Versa has only recently started, and I am enjoying it very much. This is not a criticism of it, I’m just using it as a jumping off point to talk about the body swap trope used in film - BL in particular.

Here are some of the ones I know of that use body swap as a narrative device.

2017 HIStory: My Hero (Taiwan) 6/10

Girl dies and her consciousness transfers into in the body of the boy who (maybe) had a crush on her boyfriend. She has a week to make her old boyfriend fall in love with her new body. On Viki.

First we should address the fact that if it’s a girl trapped in a boy’s body, it’s a girl and therefore her having a relationship with a man calls into question if this is BL at all. It IS queer, but is it gay? Grey area, as we often stray into with these narratives. This show, and Great Men Academy are particularly impacted by this quandary.

ANALYSIS: I don’t have much to say about this one, I’ve only watched it a few times. I didn’t respond well to the actor playing the lead at all out the gate and I don’t think he handled being “inhabited by the spirit of a girl” very well. He never made me believe that was the case. Possession is a bit more loosey goosey than plain only body swap, a case could be argued how much of her consciousness would be in her sense memory of body movement, but still... eh, I never believed it. I know, fantastical premise, but as a watcher, the actor still needs to make me believe the innate truth of what i am watching. And Jiang Yun Lin just didn’t, maybe because it was his debut?

2018 PickRome's Our Skyy episode (from Puppy Honey) (Thai) 5/10

Boyfriends accidentally body swap into each other. There’s some nice play on the height difference, This OffGun vehicle is cute and the first time we really got to see them playing affectionate boyfriends. Also the first time Off did soft on screen for us. Important to the cannon of their ship, but not my favorite.

ANALYSIS: Sorry to the OffGun obsessives out there but this was one for the physical comedians out there. I talk about thsi with older actors playing younger characters but you HAVE to move differently. Teens, for example, are way loser in their spine and around their body posture and movement (often because of growth spurts, they clumsy af). Teens are all elbows and angles, and slouching. I don’t mind older actors playing younger, because I’d rather not see minors having to kiss etc... but rarely does the actor get thsi right. Off and Gun didn’t do this right either. They got the personality switch okay, and the aspects of scripted comedy done well too. But both these actors have very specific ways of walking and moving, and we are all very familiar with both. And frankly they shoudl be with each other’s quirks too but the time this show rolled around. But Off is ALWAYS Off and Gun is ALWAYS Gun, I never believed for one second they had switch bodies - even if Off was being unnaturally cuddly, smiley, and sweet.

2022 Cupid's Last Wish (Thai) 6/10

Brother and sister swap bodies. The sister remains in a coma (inside her bother’s body) which the brother, inside his sister’s body, has to go on a quest to rectify the situation. Win is such an incredibly unlikeable character I really struggled with this show, no skin off Mix’s acting, but holy fucking irredeemable tsundere. The final ep tried (and for some it may have been successful) but even EarthMix’s chemistry (which has improved since Thousand Stars) didn’t save it. On YouTube.

ANALYSIS: Mix and Jan actually did better than I was expecting in this swap. But I think it was mostly Jan. Mix is a decent actor, don’t get me wrong, and he was handed a very difficult part to play (I found his character highly unlikable). But Jan was pulling a lot more weight to make them look like they were actually in each others body then he was. Now Mix is relatively new to acting, and he’s the lead, while Jan is experiences and a secondary couple, so the weight should be in this direction. Also there’s a real challenge when the body swap is male/female, not only skeletal structures but the way flesh is distributed on bone (external sex characteristics). We are all profoundly effected by puberty and self-consciousness about different parts of the body, which means that most women and the men move differently. Especially in the context of this narrative where neither character is intended to be trans or body dysmorphic. Jan was a bit better, she made her movements bigger, widened her stance, pulled back and stacked her spine differently (men tend to slouch snd support from the lower back - stomach, women from the upper one - boobs). But she still didn’t exactly move like Mix. And Mix never looked like he was trapped in a girls body. (Smaller feet, stance and stride change, pelvic position, even how you stand in a relaxed position, it should be slightly different for him to convey being trapped in a small, slighter body, with different flesh distribution.)

Am I nitpicking? Sure, it’s what I do.

2019 Great Men Academy (Thai) 6/10

Love has a crush on popular Vier who goes to an all boys challenge school. She meets a unicorn and wishes to get close to him. Love wakes up to find herself changed into a guy so she can attend the same school. Difficult to get hold of.

ANALYSIS: This one is a body swap where it’s a girl whose body is turned into a man’s, so there is no “other character” to compare too. That makes it I think a lot easier on the actor because he gets to interpret what she becomes physically because of the transformation (and we don’t have something to compare it to constantly and visually). I actually think James did a pretty darn good job (he’s an experienced actor). This is one of my favorite body swap executions. That said, I always think there would be a period of adjustment, a physical adaptation to the awkwardness of inhabiting someone else’s skin even if it’s yours transformed - in terms of clumsiness, spacial awareness, which James managed to touch on with this show but should have been pushed into a bit more for humor if nothing else. But this is really difficult to do.

2022 Vice Versa (Thai) - still airing at time for writing, unrated

This one showcases boys body swapping into other boys bodies, but played by all four actors back & forth on screen with each other. On YouTube.

ANALYSIS: Please don’t get me wrong, I really love Ohm & Nanon. But, none of these actors physically move, vocally speak (cadence, tone) like their counterparts. And as the secondaries in this show, it is on Ohm and Nanon to do the hard work in this matter, to attempt to match to their respective lead actor. In the end, I just do not believe that any of them have swapped bodies. When you see Nanon, he doesn’t hold himself the way to Jimmy does. He doesn’t have Jimmy’s arrogance and pride, or that sort of svelte beauty of physicality. Jimmy is elegant about his movements, precise and smooth. He inhabits space with care. Nanon does not. With Ohm and Sea, it’s more that their voice cadence and tone are so completely different.

So in scenes where we swap back-and-forth between the two playing the same part, I feel a profound disconnect. There’s just no way that is the same person, and the actors are not being directed to make it feel that way (or they’re not sophisticated or workshopped? enough to execute smoothly). It’s a little disappointing and, frankly, it makes me just a tiny bit annoyed whenever Nanon or Ohm is on screen, because it’s so much “oh THERE’S Nanon!” not the role he’s playing.

It might have been a different story if they had been, heh he, swapped: Jimmy|Ohm versus Sea|Nanon. Because physically those match-ups move a little more like each other naturally. Jimmy is such an elegant and almost aggressive way of holding himself with that perfect posture, and Nanon just doesn't, he’s slouchy. Ohm is a bodybuilder and moves like an athlete, while Jimmy is more floaty like a dancer, but at least that’s a little bit closer to each other in the arena of body awareness.

Frankly, I’m looking forward to it being more just JimmySea, and less OhmNanon on the same screen, and not just because... Jimmy, but because I’m finding this aspect so very jarring. And I do think a smart director will move towards just the dominant couple in this matter.

A good example: What is the best examples of this kind of thing for me, weirdly, is actually Men in Black.

If you’ve ever seen this movie, Vincent D'Onofrio who plays the bug character is a truly remarkable physical comedian. It’s him inside his own body, but the entire time you NEVER forget that an alien creature is inside that body. That creature is not used to bipedal motion, to the smaller size, to talking with that voice box, and we know this ALL THE TIME. Yes he has makeup and CGI helping him, but that man can move his body.

Of course this isn’t the same as a body swap or a body move from one biological sex body to another, but D'Onofrio highlights how important it is to show with the way you inhabit space, hold your head, walk (stride, foot position), stiffen your spine, even breathing is different and when you switch bodies it manifests primarily in the physical.

Before you ask, Saint is the best BL actor I know at physicality performance, but I don’t know who he should swap with...

(source)

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writingwithcolor · 3 years

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Arab Character Joining Corrupt Superheroes, Police Parallels

Anonymous asked:

I’m writing a story with a Arabian diaspora main character. The story is about corrupt superheroes, and how they affect an oppressed superpowered minority. The main character is one of these superheroes, naively joining them in his teens believing he’s going to help people. Doesn’t help that his parents are having money trouble. Eventually he ends up fighting a superpowered crook, and gets a bystander killed.

1)I know portraying an Arabian character committing violence is a pretty touchy subject, even if accidental. Is there any way I can write this that makes it clear to the reader that the action itself is messed up without the unfortunate implication that Arabs are violent?

2)A large part of the story is the MC’s parents reaction. They are loving parents, however after this incident happens, they are confused and ashamed. While they still love him, they temporarily cut ties with him. Eventually they reconcile and start to be a family again. In my research (they are diaspora Saudi Arabians), Family is very important and tight-nit. Shame towards the family is to be avoided at all costs. However I’ve also read that disowning a family member rarely ever happens. Is there a way to write this kind of narrative with respect to this aspect of Arabian culture?

Let us begin with some terminology.

- If a person is from Saudi Arabia, they are Saudi Arabian, or more commonly, Saudi. This is their nationality.

- They may or may not be Arab. Arab is an ethnicity. Not all Saudis are Arab. Not all Arabs are Saudi.

- Arabic is a language. Lots of people across the world who are neither Saudi nor Arab speak Arabic.

- Arabian on its own is a word used to refer to a specific breed of horses.

If you are referring to humans, you want to either say "Saudi Arabian" (both words) or “Saudi” to indicate nationality, or "Arab" to indicate ethnicity. If you’re looking to describe your character’s culture, you probably want to call it Saudi culture. (While grammatically correct, talking about “Arab culture” doesn’t make much sense because Arabs are an incredibly diverse ethnic group and there is no such thing as a single monolithic Arab culture).

Now for the first question. In my mind, the issue is less about the character committing violence, and more about the premise of the story and how it mirrors real-life oppressive structures. You have an organized group of superheroes who think they are doing good by fighting “crooks” but in reality are enacting systemic oppression upon a marginalized group. This immediately brings to mind police violence, racial profiling, and the way that policing in North America is used as a tool of white supremacy while glorified in propaganda as a force for good. Essentially, you are telling a story about a character who joins an oppressive policing force, enacts violence upon a marginalized group as a result, and (I’m assuming) eventually realizes that they are not, in fact, the good guys. This is very close to being a “bigoted character learns not to be bigoted” story. I recommend re-examining your premise in light of the real-life parallels and asking yourself whether this is the story you want to tell.

The issue is compounded by the fact that your character is an Arab teen, who in real life is more likely to be the one facing racial profiling from the police. Taking this character and making him the oppressor in your story makes the already flawed premise even more problematic, especially if the characters in the oppressed group are white.

As for your second question, it seems believable to me that a teen’s parents might reject him if they learned that he committed a crime. However, when the family in question is Arab, you are suddenly feeding into harmful tropes about oppressive and violent Arab parents. You are asking if there is a way to write this respectfully. I believe that there is, but it requires a great deal of care, nuance, and cultural awareness. While it is possible to write a Saudi Arab character grappling with the consequences of violence and familial estrangement in a compelling way, the way your ask is phrased leads me to believe you are not equipped to do it justice.

- Mod Niki

Think about why Arab people committing violence is a touchy subject, and then think about the general propaganda narrative that came about from the act that made things so touchy.

It’s going to sound one hell of a lot like what you have here.

Military and police use buckets and buckets of propaganda to continue hooking in young, impressionable teens to commit state-sanctioned colonialism and oppression. That propaganda looks suspiciously like “we have health insurance, we will pay for your education, you just have to do what we tell you even if that means hurting or killing others, but it’s okay because you get to be the hero in the situation.”

Now, propaganda is a very powerful tool. I was taught, in my media classes, that controlling the message means shaping reality. The media is built as a propaganda machine, and when you start to see who owns what media properties you start to see some really disturbing patterns (Rubert Murdoch owns a lot of right-wing sources across America, the UK, and Australia, and he’s too rich to investigate his culpability in spinning terrible narratives found in right-wing publications. He owns the big names).

As Niki said, this situation mirrors police violence and police-sanctioned terrorism. And the very, very unfortunate implications of making the target of police violence be in that wheel. But I want you to look at the media situation that has made the plot happen.

Because even if you swapped out ethnicities, you’d still have a reckoning to do with the American culture that their primary social safety nets involve killing people.

I am not kidding.

Some of the most well-funded unions in the country are police unions. These people have pensions. They have health insurance. It’s damn near impossible to fire them. They get overtime very well mandated, and it’s a known thing among defence lawyers that arrests happen right before a cop’s shift will end so they get the overtime of filing the paperwork. They absolutely go into poor neighbourhoods and recruit based off people needing an escape, and them having the money to provide it.

A similar sentiment is true for the military, except they push for college education a bit more and don’t really have overtime, but they do have deployment bonuses. So the way to get extra pay for yourself is to go out and do colonialism outside the borders. The military doesn’t necessarily like it when the economy is doing well, and don’t like the idea of college being affordable, because they rely so heavily on poverty and fear of college debt to recruit.

The story you’re telling here goes so far beyond an individual’s actions and instead taps into America’s single biggest cultural investment: that oppressing others makes you a hero.

The Pentagon funds most military media out there as a propaganda tool, including most superhero movies and a large number of video games. This is in their budget. They will also go so far as to literally commission the games to exist. Part of getting that funding is you cannot critique America’s military, basically at all (the only exception I’ve seen is Ms Marvel, but that’s set in the 90s). This turns any sort of military-using media into a potential propaganda tool.

And the thing is? Even if you fall for that propaganda and were part of the military or the police, you still have to reckon with the fact you put whatever your own desires were above a huge track record of those groups being terrible. You still have to reckon with the fact you didn’t realize they were wrong, and were complicit in a lot of crimes.

This goes very far beyond “the action is terrible” and goes into “the system is rotten to its core, and you chose not to believe it, or to believe you could change what was built with blood.”

“Good” police officers get fired. If you try to question anything, if you try to say this action is wrong, you will absolutely get destroyed. Military’s much the same. You need some degree of buy-in to the concept of white supremacy to sign up for the military or the police, because you need to see their actions as not deal breakers instead of actions that violate multiple international laws.

In short: you need to see the people being oppressed as deserving of being oppressed to some degree in order to participate with police and the military.

Marginalized people can hold this belief, it happens. But that is a very sticky situation that outsiders shouldn’t touch.

It’s possible but difficult for you to write a white person having this sort of arc, but it would be extremely challenging to have it not come across as a white guilt story. To not have a socially aware audience roll their eyes at how long it took. You’d definitely not be writing a story with a diverse audience in mind, because you’d mostly appeal to those who saw the propaganda as just fine and not that bad.

This isn’t even getting into the oft-cited adage that boys who bully others become cops, while girls who bully become nurses. And the more police atrocities become mainstream news, the less and less people can convince themselves that becoming a police officer is a good thing.

Which brings me to the point of: how well-documented is this oppression? Is this character walking around in an oppressive situation like, say, pre-social-media where there was no direct access to the oppressed groups and you could close your eyes and look away even if it made national news? Or is this in a media connected world where these oppressed populations have a voice in the narrative?

The former has an angle of the character slowly realizing the horror and it’s slightly more forgivable for their early ignorance. But in any sort of world where there’s access to the people getting hurt? Things get more and more “ignorance is indistinguishable from maliciousness.” And keep in mind, these stories are read in the real world, where police brutality and war crimes go viral, and a lack of knowledge is getting harder and harder to defend as a position.

Media plays a huge role in shaping our perception of what’s happening. Cameras on a situation makes different activism tactics work, as we can see with how activism changed in the 60s and 70s as tv reached the masses. Social media has made it possible for you to look up firsthand accounts of discrimination within seconds.

This is a factor you are absolutely going to have to consider, when you want to look at how nice your hero is seen by marginalized or otherwise socially-aware people. If there is a way to find out how bad this superhero organization is before you sign a contract with them? Then that doesn’t look particularly good on the “hero”. You’d really have to establish them as super idealistic, super sheltered, super desperate, and/or just swallow the knowledge that they really don’t see anything that happens “over there to those people” as that bad.

All of the above is more than possible. And they’d still be seen as complicit no matter what justification you gave, because they are.

Does this mean all corrupt organization stories are off limits? No. The reason these stories have such deep cultural resonance right now is because of the propaganda I outlined above.

But you as the author are going to have to examine your own engagement with the propaganda narrative and do your own private reckoning so your own sense of guilt and compliance doesn’t bleed through the narrative too strongly, so you can tell a good story instead of an overt message story that’s you working out your own feelings.

By all means, write a story where police and the military are taken down, where propaganda is weaponized and the media is controlled (because that’s sure as hell the modern world).

But know that stories where the hero discovers the corruption already have a ticking clock because we, in the real world, are slowly being faced with a mountain of apathy instead of ignorance. The knowledge of oppression is out there so much that marginalized people are tired of the ignorance defence.

As the saying goes, “privilege is the ability to ignore the oppression of others.”

Propaganda, centralized media, and strategic cultural investment made it possible for police and the military to have a chokehold on their public perception. But that’s changing. The chokehold is starting to fade, people are starting to question their beliefs.

The past year has shown that knowledge isn’t the issue; it’s white supremacy. People don’t want to believe that any of this is that bad. People want to believe that oppression is justified, that if people just followed the law they’d be fine. They don’t want to question themselves. And marginalized people are tired of these narratives where, suddenly, people snap out of it. Because there was so much evidence to show it was bad, but it was only when you do one of the worst crimes imaginable that you realize this is bad? It’s only when it becomes personal that things are worth looking at critically?

No. And you need to examine where you are in processing your own complicity before writing a story where you’ve swapped around the ethnicities to try and distance yourself from the problem, where in the end you made the target the oppressor.

~Mod Lesya

#police brutality #oppression #arab #saudi arabia #military #superhero #superheroes #asks #violence #propaganda

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blindbeta · 3 years

Text

Blind / Low Vision Person’s Review of “Blind” by Rachel DeWoskin and Why Writers Should Not Underestimate the Benefits of a Sensitivity Reader

[Content warnings: spoilers for the book. Ableism. Brief mention of an accident involving eye trauma. Mentions of suicide. Stereotypes about blind people. Also this review, because I focused on the portrayal of blindness, comes across negatively. Please know that I have no hate for the author and might even read another book she wrote. However, I did not like the way this book portrayed blindness and, as difficult as it is, I wanted to be honest in my review.]

I struggled with the title, and I’m not even sure benefits is the appropriate word. What I want to convey here is not Brought to You By Big Sensitivity Reader Company vibes, but more This Book Was Not Good and It Needed a Sensitivity Reader Very Badly vibes.

Blind is about Emma Silver, a high school student who goes blind in a traumatic accident. Here is a good summary and review by a blind person. I listened to the audiobook, which was narrated well. I’ll start by saying this will only be a review of the portrayal of blindness — I’ll try to leave my other opinions out just to keep things focused.

Unfortunately, focusing on just blindness means that it will not make this review more positive, because this book is about a blind girl recovering from going blind. In a way that is both inauthentic and swerves well out of the author’s lane. I say that because, as I hope will become apparent, this book consists of main character Emma being sad about being blind for the majority of the book. The book doesn’t simply have a character who goes blind. That is the main character’s entire arc.

This is a long review. However, I believe it will be invaluable for my readers and anyone who is interested in writing a blind character. Because this book passes most of my minimum standards for writing blind characters and was still lacking due to many factors, including stereotypes. I included many sub-headings so you can find specific topics easily.

Helpful Links

I include these links in the review. I’ll list them here for easy finding.

Here are two reviews of the book by blind readers: one and two.

Here is a video of the author talking about some of research she did for the book.

Here is my post Things I Want to See More Of / Less Of.

Here is my post about writing a blind character adjusting to being blind and being all sad about it when you aren’t blind yourself.

And finally, here is the post I shared that lists misconceptions about blind people.

The Author

The author, Rachel Dewoskin, is not blind. I did as much research as I could, but even if I hadn’t done so before reading the book, it was obvious she wasn’t blind herself. There are too many inaccuracies and offensive moments. This becomes a problem not because her MC was blind, but because she told a blind person’s story and used tropes in ways I think would be better off written by a blind person. If I’m going to read a story like this, I don’t want to read it from the perspective of a person who isn’t blind. When I get into the details of what went wrong, I hope you’ll see why.

Did the author do her research? Yes. The author met with blind people, clearly researched assistive technology and cane skills, and even taught herself contracted Braille. She talks a little about it in this video.

In fact, I wanted to say I am so impressed and grateful this author immersed herself in things like Braille and cane skills. None of my followers have shared that they went to a Lighthouse For the Blind or taught themselves to read Braille or spoken so passionately about why they loved it.

But sometimes research falls short. Or it is simply not enough.

That’s why I’m writing this review. For you writers writing blind characters when you aren’t blind. Because while the author clearly had good intentions, while the author clearly did her research and put in the time to learn and listen in ways I don’t think many of my followers have yet — the book was not authentic enough for me.

This book needed several sensitivity readers. If it had any, I would be surprised.

The Cover

The audiobook seems to have Braille on the cover, but I can’t tell if it is accessible or simply a picture of Braille. The cover features the word Blind in white print on a black background, with what seems to be Braille in rainbow colors that also spell out the title. I’ll reserve judgment here, since I don’t know the answer. If the Braille is tactile, then the cover is fantastic.

In the video I linked, the author seems to be holding the hardcover edition of the book with Braille on the cover. I can’t tell if the Braille is actually tactile or not.

What I Liked About the Book

I wanted to list a few things I liked about the book.

1. The main character is Jewish.

2. Emma has a large family full of well-developed characters and realistic portrayals of various ages. Everyone reacts uniquely to her blindness and I thought these characters were all used well. The scenes with Emma and her older sisters as well as the scenes with her mom were really great.

3. Emma gets therapy for her trauma. She also gets training to use a cane. These are annoyingly rare in stories.

4. As I said, the author clearly did her research. This is obvious when reading the book and In everything I found when researching the author after I finished it. I want to give the author praise here. I thought her explanations of technology Emma uses were the most accurate I have seen so far, both in books and when doing sensitivity reads.

What I Didn’t Like

I will start with this: Emma, after a year of learning to use her cane, is still using a cane inside her own house. After a year. This is not realistic, nor does it seem comfortable at all to use a cane in one’s own home. I don’t know anyone who does this and according to the other reviews, I am not the only one who was surprised by this.

Basically, this story would be okay with some inaccuracies. That’s to be expected. The real issue I had with this book was that it uses tropes the blind community generally hates and that the book is literally about !!! a character going blind and adapting. That’s the story. If you remove the blindness and the trauma, the story falls apart.

The author told a story that was not hers to tell and she did so badly.

If you are confused about why I dislike this, please read this post called Writing Blind Characters Accepting Being Blind When You Aren’t Blind Yourself.

What Did The Author Do Badly?

Trauma and Blindness

The story starts when main character, Emma, goes blind after a fireworks accident. Not only is this cliché, but it also tics one of my boxes in my Things I Want To See Less of post. This author wrote about a character going blind due to a traumatic accident. Link to the post.

In telling a story that was not hers to tell, here are some harmful things in the book:

The author does not do a good job of separating Emma’s trauma from her blindness. To be fair, this is difficult and most people don’t know to go about doing so with purpose. There are a lot of times in the book where the fact that Emma is traumatized leads to her saying a lot of terrible things about blindness and blind people that are never corrected or contradicted in the story. Again, if you are not sure why this is a problem, read the link I shared to my post.

Here are a few times this issue came up:

-Emma develops a habit of rocking, which myself and many reviewers know to attribute to trauma, but it isn’t clear if the author thinks blind people rock, as the stereotype indicates. Is Emma rocking as a trauma response or because she is blind? The book doesn’t make it clear. This is a time where authors need to be clear.

-Emma assumed she will never get a job, be kissed, get married, etc, after going blind.

-Emma yells about being ruined due to her blindness. The first two hours of the audiobook consist of Emma complaining about being blind. She mentions never being able to get a job a few times, assuming she won’t be able to work. While blind people do struggle with employment, this is due to discrimination, lack of transportation, lack of accommodations, lack of community support, and other systemic issues.

-Emma calls herself disfigured.

-Emma states she wanted to die. In another part of the book, when a background character we never met, Claire, completed suicide, Emma wonders if she was so focused on Claire because she wondered if she wanted to kill herself too.

-On the subject of the character, Claire, Emma states: “How easy would being gay be compared to being blind?”

This is especially damaging because some people are blind and gay. It also isn’t fair for Emma to compare them and the systemic issues that are faced by blind people and gay people. Emma not only trivializes homophobia, but also decides being blind is worse. For Emma, being blind is the worst thing ever, which is very isolating to read.

There are times where the fact that Emma is traumatized was not only grouped in with her blindness, but where the author used trauma to write ideas about blindness that are ultimately harmful.

This book, if readers of the blog want to read it, should be a lesson on why separating trauma from blindness is important. Whether that means making clear distinctions in the narrative itself or just not writing about a character going blind after a traumatic accident.

Let’s continue the overall things done badly.

Stereotypes and Tropes About Blind People

1. Rocking —

I have already mentioned the rocking thing above, but to reiterate here, not all blind people rock to orient themselves.

2. Touching Faces —

Emma and another blind character literally feel each other’s faces, one of the most hated tropes for blind people. In another scene, Emma feels another character’s face without asking.

3. Where Are the Audio Descriptions? —

Emma compares her life to a horror movie she couldn’t watch. This is a subtle reinforcement of the idea that blind people don’t watch films or television. The book makes no mention of audio descriptions. I suppose Emma and all the other blind characters simply don’t watch films or shows anymore.

4. Supposedly Fake Service Dogs —

Emma gets a dog that is specifically said to not be a guide dog. Emma brings this dog to restaurants and to school. Emma explains that she can get away with bringing her dog because no one wants to tell the blind kid no. This was, as you may be able to imagine, frustrating to read. Plenty of blind people have been denied access to transportation and buildings with a guide dog that is supposed to be able to travel freely. Emma’s blindness would absolutely not be a big help to her in bringing her dog places where it is not allowed. In showing Emma getting away with bringing her dog into restaurants when he is explicitly not a service dog, the author is contributing to a huge myth that prevents actual service dogs from traveling freely. Yes, this is only a book and it probably isn’t falling into the hands of someone powerful — however, it has probably been picked up by a business owner, a driver for public transport, a teacher, etc.

5. Avoiding words like see and look —

Emma avoids words like see and look. She also gets angry at her friends for using such words. At one point, Emma’s friend says something and Emma snaps, “I can’t see”. This prompts her friend to, according to Emma, never make that mistake again. Toward the end of the book, Emma is still avoiding such words.

Here is a list of misconceptions about blind people. Look at #6.

Here is another review of this book that also touches on this issue. The reviewer states: “The strange thing is that I’ve never known any blind person avoiding the use of words like “see” or “look.” Again, I’d hate for sighted people to read this book and think that blind folk all avoid words with visual associations; in fact, the only blind friends I talk to moan about sighted people avoiding the use of such visual words because they think we’ll be offended!”

6. All Blind People Are Apparently Totally Blind —

At one point in the story, Emma attends a school for the blind. Another character, who I think was Emma’s mother, says that the campus is beautiful. Emma makes this remark: “Why bother making a school for the blind beautiful? It’s lost on everyone anyway.”

Wow, Emma, that was rude. This is another example of where Emma’s pain and anger cause issues for readers. If they take this at face value, they may think that blind people don’t notice or appreciate beauty. More importantly, they might also assume, like Emma, that all blind people can’t see. As I have stated many times on this blog, most blind people have residual vision. Not everyone is totally blind. This is why, like beautiful grounds, schools for the blind also have things like stairs with high contrast.

7. Subtle Use of the Idea That People With Low Vision Should Rather Strain Themselves Than Be Blind —

This one was less obvious for me. However, once I thought about it again, I understood what I was reading in this character. There’s a rather outgoing character named Seb whose personality is very refreshing in this story. Seb attends the school for the blind with Emma. Seb has low vision.

So Seb wants to get a job. Remember how Emma was afraid she wouldn’t be able to get a job now that she is blind?

Instead of showing Seb getting a job to prove that idea wrong, he knows he has to conveniently not mention being blind when he applies, showing up in sunglasses and without a cane. The book states he worries he wouldn’t be able to fill out the application.

Here is what the book states:

[Quote] “He got hired without telling any of the guys who ran the place that he wasn’t sighted; I know because he had confided in me and Dee the week before that he wanted the job—if friend worked there and said they had an opening—but Seb was worried he wouldn’t be able to fill out the application. So he showed up one night before closing time, wearing sunglasses and not carrying a cane, and asked all casually if he could grab and application and bring it back the next day.

And he spent all night filling it and brought it back the next day. He didn’t mention that he was blind or that the application had taken six hours to finish with the help of his sighted brother.” [End quote]

Seb has no obligation to reveal any personal information to them. If he wants to fill out the application on his own time, in a way in which he feels comfortable, that is fine. However, the book implies he thought he would not be hired if they knew he was blind. Rather than talk about the employment discrimination that is such a huge problem for blind people, the book decides to skip over this. And rather than address Emma’s fear-based expectation that she will never get a job, presumably because she doesn’t think blind people can do anything, the book ignores it.

Seb getting a job, especially in this way, does absolutely nothing to assuage Emma’s fears. Or challenge any possible low expectations the readers may have.

Seb fills out the application by himself and it takes six hours. Six. Hours. His brother also helps him eventually and it still takes that long. No one I know, even with intense internalized ableism, would sit there for six hours doing something like that.

Seb should be using a magnifying device or a scanner app. There is tons of technology out there for people with low vision and the author chose to include absolutely none of it in the book. Instead, she chose to show a character struggling for six hours without exploring his reasons for doing so. Does he do this because of internalized ableism? If yes, how can the same character tell Emma the school will get rid of her “Poor Blind Kid bullshit”?

Now, in some families and some cultures, it would be more appropriate for a family member to help. However, the author tells us nothing more about Seb’s culture, his family life, or his motivations. I assume he did not ask for his brother’s help until later, because I can’t fathom why having a family member help from the start would take six hours.

Why is a character doing this in a story that is supposed to be about adjusting to blindness? Clinging to his remaining vision instead of using a few adaptive tools to make things easier on his eyes hardly makes him a good role model for Emma. Why is a character modeling independence in this specific way? In a way that tells Emma that it is better to struggle with a little vision than to be totally blind?

This is reinforced when Emma says some kids, including Seb, pass well. This is something that cannot be given nuance unless it is written by someone who experienced it. Otherwise, the story shows Emma over and over again that being blind is bad. Undesirable. Which is ableist.

Do people struggle with this? Absolutely. Did the author write it well? No.

And Here Are a Few Things That Could Have Been Done Better

In this section, I wanted to go over things I thought could have been done better. They aren’t necessarily harmful, but I wanted to mention them.

Sunglasses

The main character wears sunglasses when she goes out. This is likely because she has a scar she feels self-conscious about, but this is still a big stereotype that the author could have taken more care with.

O&M Issues

So Emma has someone come around to teach her orientation and mobility, which was nice. The author put in her research here as well. However, the instructor leaves after a time, which seems odd. Rather than work with her around her schools or other locations, he decides she has learned all the basics. I received O&M training until university.

Now Let’s Examine The Blind Characters vs Tropes

In this section, I want to go over the biggest tropes in the stories structure, the number of blind characters, and what I normally advise to get around these issues. We’ll see how this advice compares to how the book turned out.

So, the things to look out for are:

-tokenism

-blind characters going blind through trauma

-blind characters being sad about being blind

Examining Tokenism

Emma is not the only blind character. The blind characters include: Emma, Sebastian, Dee, and Annabelle. I normally say to have one other blind character at minimum. The book meets that requirement.

Examining Blind Characters Going Blind Through Trauma

I also normally suggest avoiding characters going blind through trauma, especially main characters. If the writer would like to go ahead with this, I normally suggest 2 or 3 other blind characters who didn’t go blind through trauma. With 2 as the minimum. I admit, I prefer the main character not to be the one going blind through trauma, simply because the main character has so much power in the perception of the reader.

Let us examine each character.

Emma - went blind through a traumatic fireworks accident

Sebastian- unknown

Dee - unknown

Annabelle- went blind through Retinitis Pigmentosa

On the topic of Dee and Seb, Emma does mention they may have better hearing, which she claims you only have if you lose your sight before the age of ten. We can guess that Dee and Seb both went blind in early childhood or were born blind, but we aren’t sure. What I want here is explicit confirmation that other characters didn’t go blind through accidents. We only get that with Annabelle and her RP.

Not only that, but the other blind characters are not in the novel as much. Annabelle only shows up at the end, seemingly as a way for Emma to help another recently blind person to show how she has developed. Seb and Dee are only in a few chapters, mostly as flashbacks. They don’t get much backstory or development either.

However, it fills my minimum requirements, so I’ll let it pass.

Examining Blind Characters Being Sad About Being Blind

This is literally Emma throughout the entire book. Until the last few chapters.

Annabelle has a similar, shorter arc, although she is only 9 at the time. Annabelle comes in near the end of the book.

It is normal for people to need an adjustment period, particularly if they are young. However, to have the entire book consist of Emma being sad and having trauma focused mostly on her blindness is not something I’m okay with. Especially because, as I wrote in this post, it can leave non-blind readers with a very negative impression of blindness. Again, why would I want to read about this arc from an author who isn’t blind? Why make the entire book about adjusting to blindness?

Anyway, then we have Seb and Dee.

There characters were refreshing in this story, which is mostly Emma being sad and angry.

Dee doesn’t seem to be sad, but we don’t know much about her. She does seem well adjusted and laidback. She and Seb go skiing, so that’s something.

Sebastian gets a little more attention in the story. He does tell Emma the school for the blind will knock the “BPK bullshit” or “Poor Blind Kid bullshit” right out of her. I thought it was funny. Sebastian also has a big personality and interests outside of moping about being blind. He enjoys skiing and, according to Emma, he would have no problem with presenting on the Lighthouse For the Blind in front of people who aren’t blind, unlike Emma, who struggles with calling attention to her blindness. Which I can understand, what with the awkward questions her sighted classmates give her.

However, Seb also has an issue with hiding or fighting against his low vision in some parts of the story. If Sebastian were the main character, I could understand some of the things he does. However, this does not go well at all with Emma’s arc.

Anyway, Seb and Dee don’t get nearly enough time in the book for me to feel 100% comfortable using them as exceptions.

How Would a Sensitivity Reader Help?

If I were doing a sensitivity read for this book, I would suggest including more about Seb and Dee and the school for the blind. I would have explained that the way the story sidelines them shows Emma is not okay associating with her blind friends. I would have asked for more backstory, more contrast between them and the main character, and possibly a few more blind characters Emma met at the school for the blind.

If the writer was insistent on having Emma go blind in an accident, I would have suggested reducing the time she spent depressed and shifting the focus from her blindness to her traumatic accident. I would have had the author work harder to separate the two, even if it took Emma a while to do so. I would have also suggested reducing Emma’s remarks or have them called out. For example, her comments about not being able to get a job or beautiful schools being lost on blind people. Sebastian would have been excellent in this role.

I would have worked with her to either get rid of or subvert the list of stereotypes. Most of them are easy fixes.

I would have told her blind people don’t use canes in their houses. I would have given suggestions for assistive technology for Seb to use. I would have helped her with the section on trauma and blindness, reducing or erasing a lot of the issues I included there. I would have suggested giving Emma an arc that isn’t entirely about adjusting to blindness, even if her story starts with going blind.

I probably would have seemed nicer about my feedback because the author still had opportunity to make changes.

The author could have done more research on stereotypes and cane usage, but I think there is an important lesson here about the benefits of sensitivity readers.

In the end, a sensitivity reader would have fixed most of the problems in this story, despite the amount of research the author did. Research cannot always teach you everything and that is where a sensually or authenticity reader comes in. Moreover, there is a certain respect in involving communities you are representing. In paying them in money or exposure. In listening to their voices and respecting what they say. If the author was willing to learn Braille and sit with blind people to learn about canes and technology, why did she stop at getting sensitivity readers? Why does it feel like she didn’t want to include the blind community in any meaningful way?

I hope this helps someone.

-BlindBeta

#blind person reviews a review tag #book talk ; let’s review published books #review #blind representation #blind #blind characters #writing blind characters #trauma narrative #stereotypes #blind tropes #eye trauma #ableism

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pale-silver-comb · 4 years

Note

So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?

Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.

In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals.

I’ve got a lot of favourite things about the show but the main ones are as follows:

1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.

2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong.

Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.

Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)

Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day.

Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.)

I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.

3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.

4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.

5.) Competence Porn. So. Much. Competence Porn.

Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon.

#leverage #leverage ot3 #parker #alec hardison #eliot spencer #sophie devereaux #nate ford #talk leverage to me

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ackerpreach · 3 years

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This ending .... I can name 500 reasons and I will name them right now, because I don’t think I’m the only one who is upset with how things turned out. (Also, A positive message for all of you at the end)

MAJOR LEAKS SPOILERS/ READ WITH CAUTION

Update: after reading more theories from fellow RM bloggers, and sleeping over it one day, this entire chapter might be an april fools... Don't fully lose hope yet beautiful people. It's me just giving a review on a possible fake April fools chapter

After following this franchise since 2013, so nearly a DECADE. this ending is a pure disserve to the entire fandom. I feel like Yams has rushed it just for the sake of being done with the entire manga. So many things are left open, characters and their developemt are reverted back all the way to chapter 1 or are left even worse than that...

Mikasa’s worthless character development/ Aaronmika’s horrible toxic codependent relationship

Oh honey... Let’s start with how horrible Isayama has treated her. We were all rooting for her, because we all felt like she was so misunderstood. She had a horrible childhood and imprinted on a guy who treated her like trash 99 percent of the story. And then, slowly but surely, she starts to realize she has to stop obsessing over him in the uprising arc with the help of a real man who treats her like a queen, more importantly, he treats her like a real human being. This man sees her for her abilities and that she has the power to be self dependent. She learned parts of herself, that she was able to work together with him like no one else could. She learned parts of herself she was unable to do so if she kept obsessing about Aaron. All this love, care, mutual understanding and RESPECT these two shared.

but...NAH FUCK THAT, right Yams?? Throw all this development away, all this bonding. Let’s make the main female lead even more yandere than she already was in the first season. Let her make out with his decapacitated head (like dude, this is also pure disrespect to Aaron’s dead body btw) and let her obsess even more about the guy who has treated her no better than a piece of toilet cloth 99 percent of the time. The guy who was never really appreciative in front of her for saving his ass billions of times, who always pushed her away, who yells at her and snaps at her whenever he can instead of reasoning and talking calmly with her in mature way. (EVEN PARODY YOUTUBE CHANNELS WHO DONT SHIP ANYTHING MAKE IT A TROPE WHERE AARON TELLS MIKASA HE HATES HER GUTS WHENEVER HE CAN)

Then after all that, suddenly Yams tries to last minute persuade us Aaron’s always been head over heels for her??? He should have build their relationship better which he hasn’t even tried to do so... He must be thinking his fans are stupid for eating this from his hands.

Like seriously??? What is this???

Isayama is just fully contradicting himself. It’s like someone tipped him off with a buttload of money for him to write Aaron like this to satisfy shipping needs and to cash in those extra money’s from it. Even if he tried to cater to Erem*ika, this is not how you write a loving and caring couple which people will root for.

This next two panels just freaking infuriates me to the core of my soul. I can’t even describe how dissapointed I am with Mikasa.

Why is she clutching that head so obsessively like that? Why is she walking and turning her back away from her comrades? After everything they have done for her, after all they’ve been through?! After everything Armin has done? Standing up for Mikasa, beating up Aaron for hurting her. I feel like even Jean, Connie and Sasha have cared more for her in a healthy way. Sure, Aaron cares for her romantically too apparently (What a twist Yams :)), but has he aided her to becoming a mentally healthier individual? Has he aided in her mental stability? The answer is a big fat NO! All I see between these two after today’s raw Chapter’s are too Yandere obsessed individuals who have no clue on how to maintain a healthy relationship.

Love should only go as far as the heart can endure and it seems like her character is not willing to be aware of that. Even Armin was able to let go of Aaron in those latest panels. Why does her entire character resolve around this guy??? I really do not understand. Her Ackerbond and her age is not an excuse for her to throw her life away like this.

Shonen’s disgusting portrayal of women

I’ve seen this countless of times in the many years I’ve watched anime. SasuS*ku from Naruto, Ichih*me from Bleach, Shinji and that oranged hair girl from Neon Evangelion.. Why do these women get decreased to simpletons with one single goal? And that is to obsess over a bland male lead who either treats them like trash or doesn’t notice them up until the last last chapter (LITERALLY WHAT YAMS HAS DONE). Some go even as far as the male leading wanting the kill the female love interest and yet the female lead is still in love with them???. It’s disgusting for him to write the MAIN female character this way.

It’s dissapointing we believed in Isayama doing Mikasa’s character right. That she’s finally being able to let go of her codependency and to live for herself maybe live in Hizuru and find more about her roots???, but every single time she shows some improvement, it’s burried deep in the ground again by the Author. It almost seems like a lowkey kink of some of the male Mangaka’s to write about a girl obsessing over them no matter what. I see this so many times to the point that I truly stand behind it that some of them might have this fantasy.

I wished he didn’t portray her last panels like this. Everyone else is living their lives while Mikasa is still grieving about him. I’m not saying she’s not allowed to grieve and everyone takes it at their own pace, but cmon... Show her living her life too. This is too much. Her being next to his grave and grieving him as her last panels just shoves it in our faces that YET AGAIN, BEING OBSESSED WITH AARON IS ALL HER CHARACTER STANDS FOR.

I truly despise how Isayama handles her grieving, kissing his decapacitated head, carrying it around like some handbag, and her last panels being thissss.

The world leaving Paradis alone miraciously after all that???

It’s so weird and out of place with so many political feuds and disagreements between the world and Paradis, the entire Rumbling happening and we can see Mikasa just chilling outside in Paradis with no one bothering them. You can see the rings of the walls in the picture below. I don’t know the exact reason behind as the manga is still in Korean, but from what I see, the story went the route of: throwing a happy ending without enough proper reason and it was all fixed just like that in a snap! It doesn’t fit the entire narrative of attack on titan for things to be so peacful out of nowhere. When it comes to the narrative, how things work in that world, how hard it is to achieve peace, everything made somewhat sense up until chapter 138. 139 seems so so out of place... It’s like I’m reading a chapter from a totally different manga.

Aaron Yoghurt got defeated so easily/ Aaron’s character assassination

The build up on the first part of the rumbling was great, those kids carrying coins. You could feel humanity’s fear and Aaron’s hatred in those pages. As if he truly had a goal and he has turned away completely from his comrades and his closest friends with no return. The world seemed truly doomed, but he got defeated just like that. He was in the nape all this time (because screw the warhammer power of hiding yourself elsewhere in his ginormous titan body). There is no master plan as we all expected, and in the end he just acts all yandere in the paths with Armin and that’s it... They massacared his entire character as well. Many fan theories created a better ending with his character. Him being reincarnated as Historia’s baby would be so much better. For him to still keep on seeking and to strive for power. It has always been his motive. It’s his personality from the start until chapter 138. Even if things are okay, to keep on going and to seek that adventure, but then.. He’s so weak and directionless suddenly.. It’s so weird... This is not Aaron at all???

Using Aaron for him this entire post, because I don’t want others to invade our tags... :)))

Historia’s baby

The only panel we got from Historia’s child was this. Just a normal kid, normal life... Why did Isayama put so much effort in highlighting Historia’s pregnancy if it was nothing too spectacular anyway? It seemed he had major plans for this kid and for their development too??? It’s again, big plans, big developments, big relationship dynamic, but all got thrown out of the window...

Don’t read the next sentence if you are a minor :’)

It’s like almost ejaculating, but stopping right before it and repeating that every single Arc.

My energy when writing about this chapter is the same as Nostalgia Critic and his hatred for atla the live action

In Conclusion...

I know us fans should not be deciding on how this story should end, because this is Isayama’s story after all, but I truly wished for him to wrap up things much more rounded. There are so many unanswered questions... Again, I think for the sake of being done with this manga, he rushed all of it. He’s become a millionaire from this story and now his pockets are jammed full, I guess he doesn’t need to put in any effort anymore, right? Perhaps a controversial opinion, but I really wished he cared for his fans a little bit more with this last chapter by giving some answers that make sense at least. It’s his fans who gave him this platform and the opportunity to tell his story and for him to at least give in a bit of effort especially in the last chapter is the least he can do. Rivamika being canon or not, he truly rushed it without thinking much about the entire story line. He expanded it so much, he didn’t know how to bind it all together.

Even after all this, I’ll still ship them in the headcanon type of way. I do give credit to Isayama for giving us a template for such a beautiful dynamic between Levi and Mikasa. He decides to waste it, but that doesn’t mean we have to. I want to thank all the people with amazing writing skills, the ones who give us beautiful art like @carmenlee @phit chan @vialesana and many more. I want to remind all of you that we can create something beautiful of our own and we don’t neccesarily need canon lore for that. The art I’ve seen, the fanfictions I’ve read have touched me deeper than Isayama ever could at times.The Mikasa in our mind is appreciate of Levi, is mature, classy and has a strong will for herself. They spend their remaining days together peacefully. Keep writing, keep drawing, stay creative.

I love you all so so much, I’ve only been publicly active since March, but thank you Rivamika fandom for giving me so much joy as a lurker these past 7 years <3

#rivamika #snk leaks #snk 139 leaks #levimika #mikalevi

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stxleslyds · 3 years

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MY TOUGHTS ON THE END OF RED HOOD BY CHIP ZDARSKY.

Dishonour! Dishonour on you, dishonour on your cow!

Well Jason Nation, it happened again, fanon wins over canon. The amount of bullshit that DC made Zdarsky write in this issue is insane, I have never seen this many fanfiction tropes shoved in a single issue in my life.

This book has been a constant insult to Jason’s character and his Red Hood “persona” since the very first issue but I never thought it would end this badly. It’s incredibly sad.

I will go ahead and say it, this tumblr and this post is not “Batfamily” friendly and it definitely isn’t fanon friendly when it comes to Jason Todd.

Fanon is destroying canon for Jason Todd. I am sorry but that’s how I see it, fanon doesn’t belong in canon, I would never get tired of saying that. But here is the thing, DC latches on to Jason’s fanon version because it fits their narrative of “the Batman is all that is right and all must follow his rules or they shall disappear”.

DC has been dying to make Jason bland and flavourless just like Batman. And now here it finally is.

Let’s be honest the story in this book, the new drug, Cheer, Tyler and his mom, none of that shaped this story, none of those things were the support beams for it. It was all about this never ending “daddy issues” thing that DC pretends is going on between Jason and Bruce.

It was all about those two fighting because they “think differently” so in the end they can push Jason towards the “no killing rule” being also the Red Hood’s modus operandi.

Its utter bullshit.

From the moment that Jason had to put a bat suit on I knew that this was going to be a mess. Luckily like I predicted they didn’t make a big deal out of him wearing it but the “Jason admires Batman” feeling was very present in the issue.

I will not talk about how easy it was for that one thug to land a punch on Jason while he was distracted and I will also not talk about Jason being a dumbass for not securing his dumb mask better when he knew the fight will involve gases. I will not talk about it.

Anyway, let’s talk about the Cheer Gas induced illusion, shall we?

In Jason’s illusion he finds Bruce at the manor looking at the picture of Joker’s death (?) and even though that is strange what Bruce says next is even weirder, he says this: “I did it. He was the last one, but I did it…Joker is dead. I am done.”

Now what the hell was that? This is Jason’s illusion, and by the looks of it in his illusion Bruce has killed every baddie in Gotham and left the Joker for last? Am I reading that right? Is this this a joke?

I understand that this is an illusion so the gas is making “real” things that Jason probably doesn’t know he wants, like wanting Bruce to go on a killing spree, which Jason never wanted because he said it himself, do you guys remember the iconic “I’m not talking about killing Cobblepot and Scarecrow or Clayface. Not Riddler or Dent…I’m talking about HIM. Just him.” Because I remember and it’s so important to Jason’s character, Jason never wanted Bruce to go on a killing spree, he wanted Bruce to kill the clown who had killed him when he was only fifteen. Is that so hard to remember DC?

And then it gets worse! Since WHEN has Jason wanted a perfect family life with the people that he has tried to kill, harm or looked down to? Why is “being with a bunch of people who NEVER get together for anything other than “help” the Bat in a fight against a fucking clown” the idea of happiness to Jason? Has this man ever interacted with any of these people in a positive way without the intrusion of a Batman/Robin event in the way? I will give you the answer, it’s no, the answer is no.

Jason Todd doesn’t care for your “Batfamily” bullshit DC, why would it matter to him? Because he was Robin? He was killed by the Joker when he was Robin, and he was killed because the man in charge of him didn’t pay enough attention! Jason Todd who was written as Dick Grayson’s number one hater for so long (and fandom loves that) is now having an illusion where he enjoys happy times with him along the others? Cass and Stephanie? What? Am I missing something, is this actually AO3, is this fanfiction?

I think Zdarsky got confused, this illusion is what would happen if Jason were dosed with fear gas. That must be it, I solved it everyone! Zdarsky just got confused by his own writing!

I wish.

Let’s go back to the sad reality, Jason has a moment in which he actually puts all his training in motion and shakes of the gas’s grasp on him. He does that but he is grabbed by so many people (who are this people?) and he is unarmed and I believe that’s the only reason why Cheer is still alive after saying that he has someone in Tyler’s mom’s hospital room ready to kill her if he doesn’t join him.

(If this were the real Jason, Cheer would have dropped dead instantly.)

But this is not the real Jason and this is not a *real* comic, it’s fanfiction! So just like that time in Batman #100 when Dick was fighting alone as Nightwing (for the first time since his “family” left him alone after losing his memories) the rest of the “family” shows up to fight Cheer and four random thugs.

Yep, its like the MCU had considered having Cap say “Avengers Assemble” when they were fighting a couple of robots instead of Thanos.

What a mess.

Also having Jason say, in real life (not illusion world), “You know what happiness is? It’s knowing that others have your back.” about this group of people is the perfect recipe for a big OOC moment for absolutely everyone. I cannot believe they have dragged Jason back to this awful concept and that they have sank him so low. It’s quite honestly, disgusting.

But the horrors don’t end there, we have a wonderful moment after Jason gives Batman the antidote, Jason stops Batman from punching the living shit out of Cheer. Because I am not stupid. There is no way in the world that you can convince me that Jason just stopped Batman from killing Cheer.

How incredibly delusional do you have to be to write Batman finally killing someone and that someone being Cheer, a guy that was introduced to comics two months ago?

Yes, later its said that between the gas and the antidote Bruce was a little too crazy and couldn’t help himself BUT I call bullshit once more, because Bruce has gone completely bat-shit-crazy on people before! I remember two recent instances in which that happened. Batman #57 in which Bruce beats the living shit out of KGBeast after he shot Dick. And the other one is Batman beating up Jason more brutally than he ever beat up Joker in RHatO #25.

DC cannot fuck with me. I might has bought this digital comic for 8 dollars but I am not buying that bullshit.

ALSO, there was no need for Zdarsky to do Jason as dirty as he did him when he made him say: “If you are going to come down from mount judgement to MY level for once… he’s not the guy to do it for.”

Zdarsky, why did you write a Red Hood story when you hate Red Hood? Couldn’t you have just told DC that you wanted to write a love letter to Batman? Once again, I am reading a Red Hood story for RED HOOD content not Batman content. Is it really that hard? I bet that if Zdarsky had asked DC to let him write a Batman story they would have said yes, there are like 20 Batman stories, they wouldn’t say no to one more!

Can you tell I am mad? And salty?

This post is so long and so full of anger, I am truly sorry for that but I have to write these feelings down or I would explode. And I am not even done, our suffering, Jason Nation, continues.

But first a little break from the pain, Tyler. Thank you after all the pain this book has given me Tyler is back and just like I predicted his mom is fine and he will stay with her, they both have been given a place and money to rebuild their life (not given by Jason nor Dick but I was close enough). The only happy ending that Tyler could have, he had and I am thankful for that, we even got a little adorable moment between the Red Hood and the Blue Hood.

I am weak for these little glimpses of a good Jason take in the middle of an incredibly awful/OOC story. And just to live in my own fantasy world I will headcanon that Jason promised himself to keep an eye out for Tyler and his mom. He would have wanted to know about their life and that they are still out of trouble.

Jason is a good man, don’t you forget that DC, I don’t care how much you twist it. Jason killing Tyler’s dad wasn’t a horrible act, it was fair game. That man was a horrible person, he drugged his child and made his wife (?) almost overdose. You never gave context as to why that man was working as a drug dealer but you told us those things so Jason should never feel like he did something wrong. As far as we know, Tyler and his mom are better off without him.

Having said that, lets go back to the pain of what is reading a Red Hood story.

“I’m giving up the guns.”

You know what, fine, as long as DC doesn’t pull another “I will stop being Red Hood for you Barbara” I will be fine. He can kill people with other things, he used to have the all-blades, he had normal swords and he had crowbars.

I will sacrifice Jason looking hot as hell when he pulls out his guns just to keep him as the Red Hood, all DC has to do is not give him that stupid… bat… symbol… oh no…. oh my god I can feel it… that thing, that horrible thing is making a comeback! NO!

Jason and Bruce’s talk is basic and it doesn’t do anything for anyone, in the end saying that Jason isn’t changing his ways for Bruce but that he is doing it for himself is more of the same. We know he is doing it for Bruce and we know DC is doing it because they cannot handle good, complex and interesting characters. We know that and sadly we have to live with it.

About Bruce’s illusion, well, Bruce has said that he wanted to kill the clown for a very long time and in the King run it was basically said that if Bruce were to be happy then the idea of Batman would die.

Listen, between me and you, sometimes I think that the Joker isn’t that big of a problem for Gotham as a whole, that clown has beef with the Bat and no one else. If Bruce has killed the Joker Jason would have been happy with Bruce all those years ago but killing the Joker wouldn’t make Gotham a safe place and any of his kids happier.

Bruce needs to care for his children, but he won’t do that, he has Dick for that. Taking care and raising Damian? No, thank you, I will not do that. Giving a shit about my son who lost all his memories and is alone? No thank you, I won’t do that and then I will lie about having watched him over. Tim? Oh, never heard of him, sorry.

The last page of this story is the one of Jason arriving home and finding a new suit that Bruce gave him with the bat symbol on it. That symbol that he had ripped off of Jason’s beat up body back in RHatO #25 (nope, I am not letting that one go).

Oh, and Bruce leaving that suit in Jason’s home gives me the same exact vibes as the time that Bruce was like “Long overdue. This is where you belong. As one of us. One of the family” in Nightwing #74 a second after Dick had regained his memories.

I don’t know why but they make him sound incredibly cold and like these people are just his pawns that he needs to rope back in every time they get away from him. It’s very disturbing.

Anyway, that’s all from me, I obviously LOVED this book, best Jason Todd/Red Hood characterisation ever! 11/10 would recommend to everyone including my enemies!

🙃

#jason todd #Jason Todd #red hood #Red Hood #batman urban legends #urban legends #urban legends red hood #red hood and the outlaws #red hood outlaw #dc comics

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gainingfiction · 2 years

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hi, this is the same anon from before (my favorite was big moments), i really enjoyed hot weather! joey as a character was really enjoyable, and i loved seeing him fall for ian. i'm always a sucker for genuine romance tropes applied to wg fiction. plus, big sweet charismatic but sort of ditzy jocks whose appetites dont slow down when they do and end up growing out of all their clothes and doubling their weight in the process... 🤤 BIG fan. this is likely antithetical to your writing process, but i'm almost curious what his weight was by the end. it didn't seem like he grew as much as an average character in your stories (not a complaint), but that might be because the narrative was so focused on making him likable and handsome that it didnt describe the exact specifics of his size. not a complaint though, i definitely had a crush on him that was stronger than just "he is a man getting very fat in my fetish erotica", so it worked a HUNDRED percent

side note, aside from the obvious (ie raul and enrique), do your characters have ethnicities? i only ask because i imagined joey as like, a more boyish winston duke, which i definitely enjoyed imagining and 3/4 of the way through reading i realized that his skin tone was never described. not an accusation of anything btw, im just curious about the less-described parts of characters in these kinds of things

(... yes i AM the kind of person who cares about ethnic diversity in amateur fetish erotica lmaooooo 💀if im gonna get off to men getting so fat they need several new wardrobes im gonna do it morally, god damn it!)

looking forward to whatever you post next!

Thanks for this awesome message, Anon! So glad you enjoyed!!

Sounds like we like the same tropes!! I’m a sucker for the “nerdy guy winning the (ex) jock’s heart”—maybe a bit of wish fulfilment on my end!

I did notice that "Hot Weather" ended up being a bit less descriptive and a little more plot-driven than some of my other work. I have a bit of a numbers kink (as you’ve probably noticed), I like scales and waist measurements and all of that fun stuff. But for this story I wanted to leave more to the imagination, and let the reader fill in as much as they wanted. So I left Joey’s weight ambiguous: we know he’s a strapping guy at 6’3”, so his starting weight could easily be close to 200 pounds. And we know that by January, he’d gained 50 pounds since starting his job sometime in the summer. The shorter timeline of this story also means that even though he gained quickly, he didn’t get to the size of someone like Daniel or Jason or Connor (at least not during the story). Other than the fact that he started gaining even more weight once he moved in with Ian, I thought I would leave his total weight gain an open question, as a sort of indication that Joey just stopped caring altogether.

As for diversity, I totally agree! It’s something that I’m conscious of and I’m trying to incorporate more of going forward. Lately I’ve been a little more vague with some of my descriptions, to leave readers more room to play out their own fantasies. So I’m thrilled that you imagined Joey as being Black! I’m not gonna pull a JK Rowling and start retroactively claiming diversity points, but I’m always delighted when readers draw their own conclusions: that’s one of the things I like best about gainer stories, you can imagine whatever type of guy you find the dreamiest!

As for characters of colour, I can’t speak for my co-author, but in writing “Lifeguard of Duty” I wrote Peter as being Korean (straight dark hair, his grandmother’s bibimbap recipe). And an upcoming story delves a little bit into the family life of a feeder named Ali, who’s Middle Eastern.

Thanks for reading! 😊 My next story, “All In a Day’s Work” is a little more experimental than some of the other stuff I’ve posted, but hopefully just as satisfying! Ideally I’ll have it online sometime in early-May.

#not fiction #great ask #keep the asks coming!#about the author #sort of

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140smashedguitars · 3 years

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Something that I love about Cherry Magic is the way it ignores a bunch of tired/toxic tropes in stories about queer people. I'm gonna list them under a read more because this is gonna get kinda long.

No homophobia This is the big one, obviously. Every story about queer people involves the main character and/or the love interest fighting homophobia. You have the character(s) dealing with slurs, mockery, being isolated from people who they thought cared about them and potentially violently abused. Instead, the only thing vaguely homophobic thing we hear is episode 7 when Adachi is worried about the fact that they’re both men, but then moves past it and tells Kurosawa that he wants to be with him. The only time anyone is suspected of being homophobic is when Minato thinks Tsuge is being homophobic towards him and Rokkaku, a (presumably) cishet character, stands up for Minato and is ready to throw hands for him, until the mistake is quickly rectified. Homophobia just doesn’t have a place in this story, and I know that homophobia is rampant in the real world, I’m not saying it’s not, it’s just that so many stories are already about that and it’s nice to see a queer story focused on someone learning to love and accept themself and realise and accept that they are allowed to be happy.

No coming out Someone made a post about how mainstream stories about queer people are about coming about because that’s what affects cishet people and mainstream media wants to cater to them. I am so tired of this; cishet people being focused on/pandered to in stories about queer people. Our stories are not about you. The stories don’t need to be for you. You can enjoy them, but you don’t need to be the centre of them for that. Instead of having literally any coming out in this show, whenever anyone is revealed to be queer, it isn’t made to be an emotional, important scene. The revelation happens, and the other character accepts it and doesn’t make a big thing out of it. When Adachi finds out for definite that Kurosawa likes him, he doesn’t think “Wait, Kurosawa likes men?” He thinks “Wait, Kurosawa likes me?” Again, I know in real life that coming out is a big and terrifying thing for queer people, but it’s not the only part of our life.

No one is already in a relationship Films like Imagine Me & You and Free Fall (both of which I like) have one of the characters start the film in an opposite sex relationship which they seem happy in, until the other character of the same sex as them comes along and confuses them and then they either want to or do cheat on their current partner and then they have to choose who they want to be with and it’s just a mess. Queer people aren’t just homewreckers or need a special person to come along and make them realise they were gay all along. Bisexual people do exist and can have happy relationships with people of the opposite sex. Who knew! Instead, all 4 members of the couples are single until they get together. Kurosawa isn’t trying to avoid his feelings by being with someone he doesn’t really like and then breaking their heart. Adachi and Tsuge obviously aren’t in relationships because that’s the point of the plot and Minato is single as well. It all works out nicely. There’s no going behind a partners back or promising to leave the partner, but they don’t want to upset them. Just 4 single people who find each other with some bumps along the way.

No aggression at realising they’re gay Brokeback Mountain, Free Fall and a bunch of other films about queer men will do this and I HATE it. One of the characters will fall in love with the other and accept that part of themself, and the other character will start sleeping with him and then get angry and then potentially physically violent if not just verbally abusive because he can’t deal with being attracted to a man and the other character will just continue to love him and want to be with him despite that. Just. Why? Queer people aren’t just toxic or drawn to toxic relationships. This is an awful narrative, especially when the films are catered towards cishet people. Instead, Kurosawa loves and respect Adachi so much, putting his needs first, going at his pace, letting him make the first moves. In return, Adachi loves and respects Kurosawa even if he is nervous about it. He’s respectful of Kurosawa’s feelings and wants him to be himself around Adachi. They love each other for who they are. We get constant shots of them smiling at/because of each other. After Adachi reveals his magic to Kurosawa, Kurosawa doesn’t get angry or upset and only interupts Adachi after he starts insulting himself. And when they break up, again, Kurosawa isn’t angry (though he’s obviously upset), but doesn’t take that out on Adachi. Instead, he takes him back literally with open arms because he understands that Adachi’s problem is with himself and that he needed time to work on that. Kurosawa wants Adachi to see himself as a good person, and Adachi wants the reverse. And even though we don’t see much of Tsuge and Minato, we know that Tsuge is so happy to be with Minato and Minato is clearly happy with Tsuge even if he has a harder time communicating. They both respect each others boundaries as well and Minato goes slow for Tsuge their first time in case Tsuge wants to stop. The relationships have clearly made all 4 of them happy and it shows the queer audience that they can be in happy, respectful and non toxic realtionships too, as is what we deserve.

No fetishisation The fact that this show is based around the main character and his best friend losing their virginities yet there’s no gratuitous sex scenes or even a kiss from the main couple is quite astonishing. Most films about queer people (especially queer men) will have so much explicit sexual content, which is probably there for the cishet female gaze. All 4 members of the couples are treated with respect within the narractive and when one of them does get overly sexualised (Kurosawa) it’s seen negatively. It forces us to see all the characters as human beings and focus entirely on their stories. What wer get instead of the fetishisation is better as well. The first time Adachi and Kurosawa hold hands makes my heart swell. Kurosawa grabbing Adachi’s hand nervously is an amazing shot and it’s so wonderfully intimate that no kiss or sex scene could’ve beaten that. And when we do get a kiss (from Minato and Tsuge) it’s there to make a point. Like I said before, it shows Minato cares about and respects Tsuge’s feelings. We know they had sex, same with Adachi and Kurosawa in the finale but they don’t show it. They don’t need to. Also, Fujisaki is very intersting this aspect. She’s the only female main character and not only is she not fetishised, she’s aroace and it’s completely accepted by Adachi. She’s treated like a human being, and she doesn’t fetishise Adachi and Kurosawa.

No one dies and both couples get together and stay together Self explanatory, but how many stories about queer people do we know of where after everything, one of the main characters die, or the couple just simply don’t end up together? I’m sick and tired of watching so many stories where queer people fight to be themselves and be with someone they love only for that fight to be futile. What’s the point? So seeing a show with FIVE queer people in the main cast who are happy and 4 of them end up in relationships with someone they love that are not toxic that we know will actually last is so refreshing. The show takes the bury your gays trope and says ‘fuck that, we’re not about that’ and I absolutely love it for it.

This show all in all is quite fascinating. It’s 5 hours long and takes all these tropes and throws them in the bin. It tells a compelling, beautiful story that I and so many other queer people really needed. It gives us hope that maybe one day we can find someone who loves us for who we are, be it a friend or romantic partner. It shows us that there are other people like us and we can find them. We are not alone. It shows us that even if we don’t love ourselves, we are still capable of loving someone else and someone else can still love us.

I love this show, and it means more to me than I can explain. I didn’t expect this to get mushy towards the end, but honestly, I want to say thank you for everyone who made Cherry Magic the way it is. It’s a truly amazing show and it’s sad that more people won’t get to see it, but I’m glad I did. ❤️

#mine #cherry magic #i just have so many feelings about this show ok

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aurelion-cerulean · 2 years

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Turning Up The Fear

Now that I’ve finally rewatched S1 and reviewed my horror tropes, let's talk. How are they going to make S5 scary?

Issues:

We already know the bad guy.

We already know what he can do.

We already know that he is going to be defeated.

We already know (roughly) who is going to defeat him. (or we got some pretty good guesses)

TBH I am not envious of the creators. They are going into this final fight with both hands tied behind their back. We’re scared of Vecna, but after 2 years, there will be a sort of lack of said fear (by virtue of the gap in time). We know what he can do, so really we’re just worried about our faves being hurt, and yet at the same time we aren’t even sure they can die. Deep down, at least I have this feeling, there is probably a sense that the main cast can’t die. And either the creators are going to have to prove that this is wrong (and kill someone early) or make us think that it's possible that they will die (and possibly really injure others).

The second option is far harder than the first to execute, but the creators are so attached to the characters that I wonder if they’re going to have the guts to actually kill someone we care about. And if they are going to kill someone we care about… well then we have to go through the grief of that (and the fact of how that makes a quote “beautiful” ending.)

So, they have to make us tense. Hard enough. They also need to make us scared, but what can we be scared of when we already know the gimmick? And look, they can easily make it action-horror film scary. However, they said they wanted to go back to their S1 roots. Thus. That changes things. S1 was like your typical cult classic creepy horror, right? It was a mystery and a drama all wrapped up into one.

Now, we have a pretty good idea of the drama aspect of this season. We don’t really have a mystery. So it’s gonna have to be a different type of horror. Which I present to you as the: home intruder horror narrative mixed with Apocalypse.

Concepts:

Around every corner vecna, or a monster, could be lurking.

We will get fake outs but there probably will be jump scares and a lot of shadow work.

Lingering tension through the use of lighting, music, and things that we as the audience can see but the characters do not notice.

Creepy, unsettling, off kilter: the known world is about to become the unknown world in full. Strange shadows, tensions are rising.

This is going to revolve around subverting tropes. If we get someone Vecna’d. We might think it’s one person (Will) and it’s someone else (Mike). They are going to be forced apart even when they know they need to stay together.

Additional Possible Tensions:

Dangers they have to face and not being sure how to defeat them.

A lot of destruction in general.

I can see the military as an added tension, along with trying to convince the town, and the fear of either of them not turning on the group.

If we get a true Apocalypse season, we are probably going to see Apocalypse trope subversions.

One of these in particular is that in those settings usually big communities do not end up working, because of the distrust. If I’m right about the town needing to come together against Vecna, then this will be subverted as a trope.

There is also probably going to be a lot more fighting in general this season than before, and I would not be surprised if tertiary characters die.

In general, I’m predicting the last season to be darker, and more tense in most regards, so that they can keep the horror aspect going. However the general plot will probably be more uplifting (as it is a coming of age tale).

#stranger things theory #stranger things season 5 theory #stranger things season five theory

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southslates · 4 years

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a rant about the saturation of zvkka fandom

as a tyzula shipper i get really surprised by how the most popular lgbt/wlw atla ship before the renaissance fell off when it started; to the point where tyzula fandom still exists but it’s much smaller and constantly made fun of for being abusive

and i think this is in part because of purity culture, where there can’t be nuance in anything and therefore tyzula is abusive and we can’t ship it! but i also think that as @army-of-mai-lovers outlined in this amazing post ty lee and azula aren’t love interests for any of the boys in the show, especially sokka and zuko, so content for them doesn’t need to exist because they simply don’t need to be sidelined. most tyzula content that exists is tyzula centric; not maiko or sukka or kataang or zutara centric, but tyzula centric. it explores ty lee and azula as characters because their chemistry is seen

you can see that most of the popular wlw atla ships in the renaissance are at least partly characterized by their relationship w zvkka, and clearly i have a lot of problems with that fandom, least of them all being the times i’ve been called a homophobe for disliking it. and one really large issue i have with zvkka fandom in general is its saturation of atla content to the point that it’s sidelined into a different au, that so many shippers see zvkka in atla when it just . . . isn’t there. it wasn’t the most popular ship before the renaissance because for fourteen years there just wasn’t . . . anything there. and i don’t know why it’s gotten popular, likely the help of some big name blogs (including the one that came up with homophobic katara) and the fact that fandom has started to really tend towards mlm ships more and more, and honestly good for zvkkas, the ship is cute, but uh

essentially just that even though zvkka has been the largest atla ship with the renaissance, it is not the most popular atla ship and it likely never will be because of that lack of longevity. there’s a lot of issues with misogyny and migratory mlm ships in fandom and i really, really see it here. zvkka fandom =/ atla fandom, atla has always and should always be more than about ships. of course i stick to mainly zutara/tyzula corners of fandom, which are super far removed from zvkka fandom in general for obvious reasons, but it’s almost sad to be entrenched in twitter and general tumblr fandom where people who’ve joined with the renaissance characterize zvkka as such a large feature of atla when atla as a fandom has always been surprisingly great with its characterization of women (atla specifically, ignoring lok etc). i’d never thought that the subtle misogyny would increase in the year 2020? and obviously as a zutara shipper i know that our fandom has had its issues with mai before, i am the last person to deny that, but i think that we are growing past it and trying to be better

one thing that i really hate seeing here is the idea that zvkka shippers “solved the ship war” by making zvkka larger than the kataang/zutara ship war. and i ship both zutara and kataang and one reason i absolutely hate this take is because i am in love with the fact that for fifteen years, whatever side you were on, atla discourse was about katara, what the brown woman in the show deserved. you can’t solve a ship war by shoe-horning her into kataang because that’s easy for your ship, because you’re just throwing away her agency and the entire point of the ship war. i actually pity a lot of people who mainly ship kataang because kataang; a ship between an asian monk and brown woman, which is canonically good representation, which is canon, is being pushed aside and made a sideship for a completely fanon mlm ship

maybe there’s a fetishization aspect in there? like i hate to make broad claims but the amount of zvkka nsfw for one, and then all the incredibly racist tropes i’ve seen there; the infantilization and feminization of zuko and the way sokka is supposed to be a big strong man or something just reeks of racism, especially when written by white people. it just strikes me as mischaracterization and the input of certain characters into boxes, because people don’t want to ship sokka and zuko, they want to ship mlm insert one and two. and i hate this because their dynamic is super interesting, canonically! i’d love to see how sokka with a plan and on-his-feet zuko work together :)

i mean fetishization is kind of prominent in internalized misogyny presenting itself as wanting two men to have sex to exclude women from the narrative, and in the post i mentioned above the op’s point was that atla fandom’s misogyny presents as unique because they don’t hate women, they just treat them like they’re really one-dimensional, and at the end of the day everything must come back to the dynamic between two guys who were intended to be cishet (i headcanon zuko as bi but i’m not stupid, this show is from 2005, it is what it is)

anyway i don’t know where i’m going with this! but i absolutely love atla wlw and i wish that the female characters could be analyzed further in depth than they are, and i’m still at a total loss to why fandom-- made by women, for women, and often queer women-- is willing to maintain so much misogyny in the guise of upholding queer rep in fanon ships with gay men.

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powerbottomblake · 4 years

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the P in Penny stands for (V8′s) Protagonist

So Monstra! Interesting name! Reminiscent of Monstro, the name of the whale from Disney’s Pinocchio (1940).

This confirms that the whale is indeed, here to complete Penny’s Pinocchio allusion. In other terms, Penny is the protagonist of this volume. The main conflict is her conflict; taking down the whale is her endgame and her turning point.

More undercut because apparently I am cursed with not knowing how to make brief and to the point meta

We know that RWBY uses the narrative beats of the original allusions (with some decisive tweaks that align with its overall hopepunk vision and themes), going as far as having direct visual parallels to the source material (Adam vs Bees fight/the original Beast vs Gaston fight anyone?).

In the original Pinocchio movie, Pinocchio is tested three times before finally achieving becoming a little boy, and I think, likewise, Penny faces three tests before becoming a fully flledged huntress and maiden:

- Setback n°1: Pinocchio, still new to the world, the very concept of morality but eager to “do good” and willing to listen to Jiminy Cricket’s guidance, is tricked by a duo of conmen; in the movie, it’s into captivity, but the original story takes a much darker turn where the evil cat and fox - one pretending to be blind (Emerald and her perception bending Semblance) and one pretending to be a cripple (Mercury) - actually cause Pinocchio’s “death” through hanging (the author abhorred naughty children and was very...extreme about it). This is V3 Penny in a nutshell, discovering friendship and bonds and values through her own Jiminy, which is Ruby, but being set up by Mercury and Emerald to fight a losing battle that ends in her apparent “death”.

- Setback n°2: Pinocchio is embarked on a trip to Pleasure Island, an apparent playground especially catered for everyone to be happy! and have fun! but oh wait they’re actually being turned into jackasses geared for labor or sold to the Dust I mean the salt mines! You’ve guessed it, this is Penny’s V7 arc. Atlas Academy is Penny’s Pleasure Island, masquerading as a safe place where but the veneer of Ironwood’s civility and apparent conflicted utilitarianism finally cracks to reveal how it’s ultimately a place of indoctrination, producing no actual people-serving Hunters but perfect soldiers concerned more with following orders than doing right, and where the disadvantaged and the poor are ostracized, taken advantage of and ultimately sacrificed. Pinocchio escapes Pleasure Island with Jiminy’s help, but not unscathed, having grown donkey ears and a tail. Likewise, with Ruby’s help and constant strong supportive presence, Penny proves herself fit to receive the maiden powers and escapes Atlas, but she’s still not completely free of Ironwood’s hold, still having to grapple with his and the AceOps’ manipulation tactics, still not sure what her role, who she is and how she fits really are. Which bring us to the third and last test:

- Setback n°3: the Whale. In the original movie, Gepetto gets swallowed by the whale when he tries to follow Pinocchio to Pleasure Island to save him. Pinocchio then dives in, saves Gepetto and, in the process, apparently “dies”, before finally earning his existence as a “real” little boy after that show of bravery and self-sacrifice. And I think these are the beats to look for in Penny’s V8 storyline. As of Episode 3, Penny is about to join Pietro and Maria, and there have been strong hints (and by that I mean we were basically hammered over the head) that she’s about to be “hacked” by Watts. How do the original narrative beats play out? Here’s how I think it fits:

Gepetto is swallowed by Monstro: After Penny is effectively “hacked” and by that I mean that while her soul and spirit remain unchanged, Watts hacks into the mainframe and forces her to surrender control over her body the same way we’ve seen her do (but willingly) for Pietro. Penny essentially ends up trapped inside her own body as it follows Watts’ commands. I suspect Watts will force her to take Pietro and Maria (who’s of interest to Salem by being one of the last remaining SEW, and I strongly suspect her soul/aura could be used to make more of whatever the Hound is, but this is a whole other matter to delve into in a separate post) to Salem.

Pinocchio dives in to save his father and takes down the whale: I think Pietro and/or Ruby will appeal to Penny/be in enough danger that she will snap out of Watts control on her own, effectively reclaiming her bodily autonomy on her own and then creating a mayhem big and terrible enough with her powers that will take down the whale and give everyone else enough time to escape. This will be Penny’s heroic moment and her stand. Right now, everyone is making the mistake of having people protect the maiden powers. Penny realizes what makes her a maiden is to use those powers to protect the people; it’s a decision she makes on her own that cements her as a true Maiden and a hero of the people.

Pinocchio “apparently dies” but is then granted his wish and becomes a “real” little boy: Here I think Penny takes down the whale but goes down with it. We don’t see her die again onscreen (I think it would be overkill to show her “corpse” a second time and would cheapen her dying at all. In general I am wary of the resurrection trope being overdone or coming without a cost because it severely undercuts the emotional payoff of a death), but I think by the end of V8 she’s MIA (which would make her the second person Ruby loses that way, but also the first to return to her so). I think Penny uses her powers to stall Monstra, and I’m willing to bet good money that whatever Penny does next has to do with the Gravity dust that keeps Monstra afloat. The thing with Gravity dust is that, it does push things off the ground, but it can also pull things towards it. I think whatever number Penny pulls on the gravitational field ends up pulling her down in that sillage as well.

I know the popular theory is that Penny “dies” again and Pietro sacrifices his life to resurrect her one last time, and I can see it happening, but here’s the thing: RWBY subverts popular tropes, exploring new (and more hopeful!) paths. Just look at Qrow: RWBY said, oh the mentor figure, scarred and haunted by his past? is not just another stepping stone whose death cements the hero on his journey, but becomes a character with a drive of their own, and an arc of their own, and who gets to pass the torch and live to see it burn well and bright and to the end. Gepetto lives and mourns the apparent death of his son but is there to welcome him home when, rewarded for courage and abnegation, Pinocchio earns the right to become a human boy. I think Pietro, too, will live, and get to welcome a Penny that has finally earned the right to call herself Mantle’s Protector, no longer Ironwood’s puppet (heh) nor an extension of her father but an actual established hero of the people, around whom Mantle can rally and who can work with the right people (Robyn and the Happy Huntresses) for the right reasons and outcomes, people and reasons she herself chooses and decisions she herself makes and a power she’s reclaimed and accepted and knows how to use.

Penny’s quest has always been one of identity, slowly transforming from getting her bearings and realizing what makes her humanity is her soul, her ability to develop and deepen and protect her bonds to people and her natural empathy and kindness (V3′s ”am I worthy of calling myself human, too?”); to navigating morality, the nuances of doing good and the need to make her own calls and judgement of what is right and wrong (V7′s “who should I protect? what should I follow?”); to now, having established that she’s worthy of being one, Penny still has to find how to be a maiden, what that role entails for her and how she can finally fit as herself and into this new role, 100% reclaiming herself, her body (even from Pietro!!), her title and her mission. V8 (and maybe onwards) is the culmination of Penny’s identity journey, and I see it playing very much as an Iron Giant moment.

“You are who you choose to be,” says RWBY (and Ruby!) to Penny.

“Superman A human, and a hero, and a maiden” will be her answer.

And just like the Iron Giant, Penny saves the world, and rises again.

#rwby spoilers #rwby theories #rwby8 #penny polendina #rwby meta #I haven't written meta in. so long this has taken me embarrassingly long to assemble #also incredible how ruby is there every step of the way huh #is this nuts and dolts colored. ye #I am SO into Penny's everything rn #this volume's theme is going to be SO GOOD #identity...penny and oscar but also RUBY #anyway Penny's maiden arc is gonna walk so that Yang's turbo blasts #my meta

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