#In all seriousness how tragic an existence where one’s designed to be hated

[imsosocold]

Manfred Von Karma is the pinnacle of someone being completely molded by the situations they’re put in. Being so invested in one’s career to the point they associate it with their own identity, believing the mistakes they make in their work reflect who they are as a person.  Those willing to do anything in order to keep their job position and thus their self identity in tact.   And he was forced to see how cruel his “beloved system” is from the receiving end of it. Ingrain yourself in the system and before you know it, it’s all you are. 

[best-underrated-anime]

Best Underrated Anime Group I Round 2: #I5 vs #I8

#I5: Comfort-food anime, 4 guys managing a cafe

#I8: “I’m sick of being a tragic girl, so we’re gonna punch god in the face!”

Details and poll under the cut!

#I5: Rokuhou-dou Yotsuiro Biyori

Summary:

Kyousui “Sui” Tougoku inherits a traditional Japanese-style cafe called Rokuhoudou from his grandfather, which he manages alongside Gregorio “Gure” Valentino, Tokitaka Nagae, and Tsubaki Nakao. Their hospitality par excellence undoubtedly turns any one-time visitor into a regular. Having gone through their own share of trials and tribulations, the staff at this modest cafe do their best to serve their customers—whether it be through tea, sweets, or even helping with the various troubles one may have.

Although most days pass pleasantly, the small world of Sui and his friends takes an unexpected path when their reputation as a cafe flourishes overnight.

Propaganda:

The overall calming atmosphere of the café and the peace good food can bring—this forms the basis of the human interaction happening at Rokuhoudou, the café. We see people finding comfort in the food they have while at the café, and it seriously so sweet. A lot of people might enjoy this.

Trigger Warnings: None.

#I8: Yuuki Yuuna is a Hero (Yuuki Yuuna wa Yuusha de Aru)

Summary:

In her everyday life, Yuuna Yuuki is a hero. As proof, she is in her middle school's Hero Club, where she does her best to help others and bring a smile to everyone's face.

But Yuuna, always up to any task, is about to become an even bigger hero. Mysterious destructive forces called Vertexes begin threatening the world she loves, and the Hero Club is called upon by a strange phone app to save it. Along with her best friend Mimori Tougou, as well as sisters Fuu and Itsuki Inubouzaki, they must transform into magical girls in order to battle the Vertexes.

In between studying and putting on shows for kids, Yuuna and the Hero Club must fight for the very existence of their world and face the harsh truths behind their own powers, all the while discovering what it truly means to be a hero.

Propaganda:

I adored this show from the moment I watched it because throughout it all, it’s hopeful. These girls go through a lot. A LOT. A lot of horrible, horrible things, and yet they bounce back. These girls bounce back pretty much every single time and do anything to help their friends do the same. To me, that is insanely inspiring.

The cast of characters here are also insanely compelling. They feel like actual, real friends—doing things together, hanging out, comforting each other and laughing with them all the same. This point I feel helps that sense of hope this show has absolutely.

The character designs in general too are absolutely breathtaking, and are nothing like I’ve ever seen from any other magical girl anime. Also, one last thing: this show’s soundtrack is done by MONACA. MONACA is also known for doing the first two NieR games. Take that what you will :)

Trigger Warnings: Flashing Lights, Self-Harm, Suicide

When reblogging and adding your own propaganda, please tag me @best-underrated-anime so that I’ll be sure to see it.

If you want to criticize one of the shows above to give the one you’re rooting for an advantage, then do so constructively. I do not tolerate groundless hate or slander on this blog. If I catch you doing such a thing in the notes, be it in the tags or reblogs, I will block you.

Know one of the shows above and not satisfied with how it’s presented in this tournament? Just fill up this form, where you can submit revisions for taglines, propaganda, trigger warnings, and/or video.

[ordinarytalk]

No wait I still have Opinions about the Nowhere King's backstory and I'm gonna yell about them (spoiler city)

THE NOWHERE KING'S BACKSTORY FUCKIN' SUCKS

Seriously! What the hell! He's just some idiot incel! "Oh boo hoo, she'll never love me unless I remove the parts of myself I hate, so I'm going to do that instead of ACTUALLY TALKING TO HER AND SEEING WHAT SHE FEELS and then I'll TORTURE THE PART OF ME I HATE for no damn reason."

(Sidenote: How the hell did he marry the princess? He canonically stated she never knew he was the elktaur until well after they were married. Did he just show up to the castle one day like "Hello there fellow two-legged humans, I am also a human and I have no home and no job or money! Can I marry the princess, pwease?")

Okay, okay, and I would be willing to forgive all that, but then the next part is what really gets me. The elk runs away, right? He gets the magic whatsit and decides to "make his own family" and makes the first minotaurs. Okay, I got it. It's immoral, but he's already done some mad science, I can see it happening.

Then he takes his "new family" and mind-controls them to make them kill cities full of people.

WHAT.

Why? How?! How did he even get the ability to mind-control them?! WHYYY is he murdering strangers now?! To get back at his other half? He could just attack the General straight on if he wanted that! And if these minotaurs are his "new family," why would that entail enslaving their fuckin brains and then eating some of them?! Dumb! Dumb!!! Fucking dumb!!! Get thee back to an editor's desk!!!!!!

Also, the Nowhere King looks Like That because of magic radiation. That's all. No other reason. Could've literally remained an elk with no difference to the plot.

FUCKING. DUMB.

The Nowhere King is such a cool concept. Look at him! Look at that character design! And it was just...wasted. On another stupid dumb idiot painfully heteronormative story about some fuckin' incel obsessed with a woman and NoW hE hAs To KiLl PeOpLe To FeEl BeTtEr AbOuT hImSeLf.

Y'know what my original theory was on the Nowhere King? Both Seasons 1 and 2 have these recurring themes of people being absorbed or subsumed into a greater whole. The Taurnado absorbing the souls of those it captures, the Whaletaur eating people, Horse herself physically becoming part of Centaurworld, the creatures being combined to make minotaurs, the season-long arc about forming the various tribes of Centaurworld into one people, it's a clear theme. I thought the Nowhere King was composed of thousands of creatures from both worlds. Both King and Kingdom in one being. A being who, after the great tragedy of his creation, now can only exist Nowhere. I thought maybe the Nowhere King was created by the unnamed centaur in the stone carving and the purple-haired woman in some previous attempt to bring the two worlds together, some well-meaning mistake that created horrific tragedy.

But! Even though that idea was nixed, there were still other cool ideas for the Nowhere King's backstory! There was one moment in the final episode where I got really, really excited. The elk had just repeatedly told Horse that he and Horse were more alike than she thought, and then we saw that scene of the purple-haired lady helping the elk escape and telling him to run. The scene was played ambiguously, and it wasn't clear if the woman was saving the elk or abandoning him. And right then, I was completely awestruck at a realization, because I was suddenly sure that the elk and woman's relationship was steed and rider.

The parallels! The tragedy! The twist that I didn't see coming! Imagine the Rider that Horse had been fighting and searching and working for suddenly betraying her! Imagine the emotional impact that this backstory would have on Horse! You could even fit in the tragic-transformation aspect of the canon backstory, by having the heartbroken steed try desperately to transform himself into a centaur or human, so he could be with his rider!

But no. No, we get Chad the Dumbass, who will spend decades on a murder spree if he can't smooch a hot purple babe. Booooooo.

Okay, got that rant outta my system.

Other season 2 thoughts:

- Distinctly fewer bangers than season 1. I think the best song was Becky Apples or the Comfortable Doug cowboy song

- There was also a less even mix of cutesy goofery and horror. You either got all fluff or all drama, and you mostly didn't get the drama till the end.

- I love Stabby the 43 year old baby. I love Stabby so much.

- I still do not like Ched. There is no reason he is such a jerk. His backstory did not explain why he is such a jerk. He's just a huge jerk for no reason.

- Why didn't the purple-haired lady get the Centaurworld treatment? Rider got it after only like...a week. That lady was there for years.

- I thought the Centaurworld creatures being turned into minomonsters was going to be more of a plot point after that one dramatic reveal in episode 6. But nope, you get one creepy centaurworld minomonster and that's it.

- The purple-haired woman being the Beartaur's horrible roommate was amazing and I just wanted an entire episode of them bickering over whose turn it was to wash the dishes

- I Did Not Like The Birds Much

- For a hot second at the very end I thought that maybe Horse and Rider were going to get fused into a centaur to save Rider's life, and I was like "is this a heartwarming or horrific ending? I can't tell."

- I don't know, I just feel like Season 2 dropped the ball from Season 1 a bit. There were some good parts, but nothing that was really breathtaking like the Taurnado, the Whaletaur, or the Nowhere King's reveal.

[hoefette]

All the petty things I hate about fate!winx and their shitty universe/world building because

I'd added most if these in tags of other posts but I'm still so mad lmao

The way characters, Aisha and Mrs Dowling specifically make references to explicitly human or American things like instagram and Harry Potter

These people are from a different dimension for ffs why are they concerned with or are even aware of this very earth-specific shit? Do they teach earth classes at school over there?

I understand not wanting to have them be oblivious so Bloom wouldn't have to explain it to them, but it simply could be ✨omitted✨

Why would you go out of your way to date your work like this lmao ew

Ms. Dowling calling Tinkerbell an air fairy.. I cannot breeve with the stupidity why did they keep that in there

Why is Ms. Dowling.. the headmistress.. teaching classes? Where are the other teachers?

We ended up with a trio of antagonists (I guess you could call them that?) by the end of the season anyway so why not give us the trix, why have the characters play double roles as friends of our protagonists and also the villains/bullies? They clearly wanted a delinquent trio, in which case they could've gender bent the trix if they wanted to keep all the unnecessary sexual tension.

It just feels like the production team was lazy, they didn't want to hire more actors, they didn't want to bother with making the world immersive or lived in or believable at best, they just didn't give enough of a fuck

They wanted to make this show and attatch Winx to it for.. what? Like did you even google the main plot points? The abridged version or sparknotes to get details on the very literal, basic characteristics of our main characters or their roles or the world they inhabit????

It lacks wonder and intrigue.. I mean Bloom moves to another dimension, a school for fairies and we don't see her marvel once at anything.. and that's because she might as well have been in Switzerland because she's in exactly the same environment she would've been in over there anyway.

They could've said Alfea was in Europe and I'd believe it because nothing about the setting makes it feel otherworldly. I'm sorry but I'm not impressed.

Why do the teachers and graduated specialists communicate via facetime ?? In the magic dimension. ??? Why do they text each other and those texts then appear on screen like .. oh look, like a bad netflix teen movie ????? HELLO ??? it's the way technology and magic could've blended in so seamless into the world THE WAY IT WAS ALREADY DONE/SHOWN. Missed opportunity. it just takes you out of it imo every time you see the ugly, bland, gray text bar. Some fucking flavour pls I'm begging

How stupid the specialist must feel clonking around with the skinniest shreds of armor, plastic swords on their backs and battery powered flashlights and cellphones in their bags. R we larping?? I know I'd be laughing and asking why we hadn't already come up with something more effective .. idk like guns. I'm surprised I ain't see one gun in there.

In the beginning Ms. Dowling says some nonsense about fairies having lost the ability to transform to explain why there are no wings, which means they could've transformed before. So are we to assume that this supposed to be set in the time proceeding the original then?? Because something is not adding up with where they should be as a magical society technologically if that's the case

How does the production team want to keep the dark academia vibes with torches lining the walls and also want them to be face timing each other, presumably from miles and miles away in the dark forest???

Pls pick an aesthetic and stick to it everything was so unnecessarily dark. Where do they charge their phones since it's the only device we see that is the slightest bit modern and dont fucking tell me they charge it with magic I will punch you in the face

Why is there only one major monarchy that we are shown? Why are Solaria the only ones contributing to the efforts to defend the school and where is this mysterious battalion we never see lmaoo it's all so bad its laughable.

Is this set in the kingdom of Solaria? And why does the queen of an alleged interdimensional superpower monarchy pull up in black SUVs??????????? Why does she pull up with Andreas?? Is he not the king of Erakleon?? Where are his soldiers and his battalion and just?? Huh!? The world just feels empty like nobody lives here fr

Are we supposed to believe that the specialists get paired up with fairies just as a normal occurence and that they have to 'trust each other' and not because the plot demands it suddenly half way through when all we've seen so far are the fairies doing normalish school and homework, and the specialists outside, being physical everyday all day. This was never even implied that they'd have to work together apart from when we see the faculty as youngins with Rosalind. But even then.. it's like well why are they even together lmao? Is this a special team formed from Rosalind’s protégées? Were they formed after graduating from Alfea or what is this?? Are they the ONLY team of specialist/fairies hunting every single burned one?? What?

Are we now supposed to buy that Musa is being switched to 'support' because that's where her strengths lie and not in combat?? Are we supposed to believe that these girls know hand to hand combat?? When was this established? We see Terra wrapping some baby vines around a dude and I'm sorry is that the practical application of her power? Is this what the fairies are supposed to do once they graduate? Or is it just a switch in curriculum because of the threats outside the barrier?? This is never made clear.

Because if not then what's the point of this?? Why do they suddenly have endless classes together when the expectation was never set for the fairies to be like soldiers or out in the field fighting ?

Where exactly are they supposed to be what was the purpose of including Aster Dell and why is it a joy ride away from Alfea lmao?? Where Bloom is from and also not from?? Plot pls make it make sense

Why are fairies from another dimension vaping or smoking weed?? They are not human so why are they engaging in specifically human vices, yol couldn't come up with anything else to characterize 'delinquents'?? Very lazy very como se dices.. no effort. Nothing a little more spicy yol could invent, at least change the name and some properties holy shit did yol even try ??

So its fairies everywhere, having a lil party in the east wing of a phat castle.. and they are playing beer pong and dressed in t shirts and jeans..

Can you hear me screaming? Can you hear me vibrating with rage?

Not one floating decoration or magical anything in sight. Just purple lights and subpar vibes

Stella's costume design: tragic. I won't discuss further because we don't have the space or time but just know that it was absolutely atrocious and I hated it. Giving very debutante vibes

The entire budget going to that lame transformation sequence that was not a transformation sequence and those horrible, barely-there fire wings

Edgelord bloom and all her fucking leather jackets. Why do 30 yo, white cis men think girls exist in a binary? They could keep her earlier characterization and make her a hothead.. Bloom literally screamed herself into a couple power upgrades in the original come ooonnnn

Let girls be feminine without it being a character flaw what is wrong with yol its 2021. They could make her more mature, more angsty or whatever the hell else and not style her like that

The way Aisha's abilities flipflop between episodes and scenes. Very inconsistent. One minute she's struggling with a drop of water and the next she is moving an entire body of water for her bestie Bloom to fake transform because the plot demands it. Why even add in her struggles at all if you're just going to ignore it?

Why was Stella with them in that scene? She didn't do anything literally.. Aisha pulled the water and she did .. nothing.

Who the fuck is Rosalind? Why would they add her in,, to add nothing to story? The company of light was a thing, they could've plucked one of them hoes to be the antagonist. Why did the winx club need their own Delores Umbridge? Valtor was right there if you wanted an evil educator type character.

The camera work was so bland during the down beats, stagnant and fixed during a fairy party and erratic and ugly and disorienting during the fight scenes

I'm not getting over the fairy party because it was a good opportunity for the production and everyone else to show the differences between where Bloom was and where she is now but instead it just looks like a regular teen high school party?? This could have been set in Switzerland fr.

Everyone's just kind of standing?? You mean to tell me these people are from all different places in the magical dimension and their customs are all the same? They all throw parties like this ??

White and flavorless I am very bored

I guess the main question or takeaway I have is just.. who is this for? Because everyone, including the showrunners keep saying that it's for us, the fans of the original. But apart from the characters sharing some names, there are really no other similarities. So again, who was this supposed to appease or placate or satisfy? Because it sure as hell wasn't the winx club fans.

Overall, this feels very much like something I wrote and probably published on ff.net when I was 13 because I thought girls couldn't be taken seriously if they liked pink, and injected angst into everything that didn't need it and had no idea how to structure scenes or dialogue. It's just bad, objectively and N*tflix will keep making shit like this because apparently some people have bad taste??? Idk yol, be easy

[kanohivolitakk]

Miserix!

YOOO I was hoping someone would send me Miserix for the ask game. He's one of my favorite characters ever since I was a wee lass yet I almost never talk about him for one reason or another. So this is good opportunity to give my Miserix related thoughts.

Content warning for suicide mention in one of the last points btw.

For starters, I find Miserix to be a rather interesting character. This is due to his backstory of being the disgraced former leader of Makuta who was overthrown by Teri and being exiled, desiring. Miserix has this...certain aura of intrigue and mystery due has this...aura of mystery and superiority surrounding him. He isnt a mysterious character by any stretch of imagination, but he def has a vibe of mystery to him.

I love his design so much...Hes a big large dragon with such a kickass design, can you say no to that. I also love how he was designed by a 12 year old girl.

Speaking of...CAN I JUST SAY I LOVE HOW MISERIX CANONICALLY HAS HIS DEFAULT FORM BEING A GIANT RED DRAGON BECAUSE HE FEELS THAT WILL GIVE HIM A SENSE LF SUPERIORITY (+ he likes dragons and feels comfortable in being a dragon form as such). This is why I love this dragon man so much, talk about a chad.

One of the reasons Miserix sticks with me is because of him being one of the few truly neutral characters in the series. Like sure he is a big angry dragon who hates Teridax and wants it all to be destroyed but I don't necessarily think he's evil per say, just someone whose mind was warped by revenge (and even if youd count him as a villain hes different from most other villains). Helps a lot that the object of his revenge was the main villain by say.

Him being an angry dragon who wants revenge is so fucking cathartic and I love it. Since like, sometimes you just want to go apeshit at those who hurt you, ya know. You Miserix, kill Terry like you want to!! Again what a chad!!!

Miserix is one of the most tragic characters in the series when you dissect him. Like, guy was loyal to his duty and mission, was betrayed by his most trusted lietnuant and then almost killed. And that betrayal and isolation degraded his mind to the point he's jusr a mindless beast who wants revenge at this point. And its so sad, especially when you wonder how much he changed due to these experiences.

Speaking of....I think about pre!exile Miserix a lot. Given how the Miserix we see in canon is...heavily affected by Teridax betrayal I wonder what he was before that. What did he value, how did he operate the Brotherhood? Was he deeply focused in his duty or did he have time for other interests and having meaningful relationships? What was his relationship with Teridax like before the latter betrayed him? What about the rest of the Brotherhood? How much did he change, did he have any values or was he just a mindless rage monster? There's so much room for interpretationand speculation and to headcanon and I love that.

The mainthing I can think of is... Pre!Exile Miserix is very driven by duty. Like, in Mutran Chronicles its made clear how he was very invested in his duty and believed in balance and order. It made him having this sense of ...goodness I guess??? Or at the very least that his arrogance was kept in check unlike the rest of the Makuta.

When I was younger I was very "UWU Miserix was good the other Makuta were evil f*cktwits who betrayed him" for a very long time but honestly rereading Mutran Chronicles made me realize that while he certainly had some kind of moral code he was messed up too (see how he convinced Takadox to act as a spy). Like, Miserix was like, lawful neutral at best (chaotic good if you want to stretch it) Def had a moral code to an extent but was not above shady actions.

Speaking of...I kiiinda ship Miserix/Takadox because of those lines that established Miserix hired Takadox to act as Barraki spy in Mutran Chronicles. Like the way Takadox looked at Miserix with concern when the Barraki were leaving the meeting w the BOM just really made me interested in their dynamic despite the fact we know NEXT TO NOTHING ABOUT IT. but the little we know gives so much potential for them to hacing a really interesting dynamic. Its a shame that Takadox yeeted off in FOF before he could interactwith his former emplyoer, it wouldve given interesting insight into the two.

I aggressively headcanon that Miserix was the first Makuta ever created, and possibly one of Mata Nuis first creations [since iirg MN created the Makuta while Great Spirits and Artakha created most of the GSR species ]

As a kid I seriously thought Miserix was a girl for a while because his name + design were kinda feminine for my child mind fsr. Because of this misconception I had of him as a child, I have ended up in headcanoning him as nonbinary (either genderfluid or bigender to be more specific, leaning towards the latter tbh). He would more or less default to he/him pronouns due to being more used to them but wouldn't mind being refered with feminine or genderneutral pronouns. That being said, he would probably be VERY against being refered with it/its pronouns due to seeing it as dehumanizing.

Also on a "baby me saw Miserix design as androgynous" I heavily hc his voice as androgynous too. Angry, low and booming yes, but in a way that doesn't sound too masculine. This is tve main reason I'm mixed on his voice in the Ignition stop motion: its too masculine for my taste (that being said the voice sounds super jnique and I always hcd Miserix having a rather unique sounding voice soo)

Break from headcanons and thoughts to say: MISERIX HAS SOME OF THE MOST BADASS LINES IN THE SERIES. So much of his lines are so badass and he def has a lot of my favorite quotes in series. Just so much confidence and badassness oozing him.

I find the fact Miserix was turned into a painting by Teridax incredibly funny. Also cant believe paintings are canon in Bionicle.

I think about post-canon Miserix a lot. Now that Teridax is dead, what now? Where would he go there? Would he still be rage-filled monster ,now just having no purpose for his rage? Or would he just wander purposlessly,feeling like theres no reason for him to exist? Regardless, there would be this emptiness... At some point Miserix whole existence became fixated on Teridax so like....When Teri died it was kinda..what then. Post canon Miserix is by far one of the more interesting post canon characters given how much it wouldve affected him. Eh, knowing how Greg writes hed either done "Miserix is driven mad/still rage filled" in the laziest way possible, come up some really stupid and convoluted thing that was out of tje blue or have him being killed off by Velika or one of his cronies instead of exploring his character in any meaninful way.

On a related note, can we talk about how its canon that in one universe Miserix loosing his purpose made him so depressed he killed himself? I think about that sometimesand just...man guy really was driven by having a duty and purpose.Again, makes me wonder what happened with prime!timeline Miserix post canon.

All in all ,Miserix is great and criminally underrated. Hes both a character thats incredibly simple(angry dragon who wants to kill Teridax) but has potential for complexity in him thanks to all the potential his story has. His story is a tragic one, being given a duty he was willing to commit to his fullest, only to be betrayed by his kind and casted away, this slowly turning him into a rage-obsessed monster we see today.Miserix is such a great and interesting character, and I wish more of the fandom paid attention to him.

[cateringisalie]

My list of bearable Binal Bantasy VII tags is thinning...

But seriously. Being skeptical of Tifa’s narration of past events is not without merit. By the time the Lifestream scene rolls around she has been through three comas and some grevious injuries. The Lifestream scene is as revelatory for her as it is for Cloud.

The new assertion she was in any way actually friends with Cloud is not only in conflict with the OG’s portrayal but counter to Cloud’s development, her development, the growth of their relationship as adults and why (in general) people have them stay together post game.

Its unnecessary, frustrating and further damaging Tifa’s character who is spinning off further from who she was.

That Tifa and Cloud were not actually childhood friends does not mean they do not have a relationship in FFVII. It does not mean they cannot be together. Tifa “falling in love” with Cloud at the water-tower does not for a second make their later relationship any more meaningful.

All this new ship information does is make the relationship have longer longevity than previously assumed. As if whichever relationship has lasted longer is betterer and stronger. As if this should automatically undercut any other relationship Cloud or Tifa can possibly experience.

(in fact - and darkly cynically - this feels a lot more like enforcing that Cloud/Tifa and Zack/Aerith operate in near exactly the same way. The pairs fall in love in record time (two years prior to the Nibelheim incident both times as far as I’m ware), the boys go missing and the girls never move on with their lives. I get the boys have gone missing without a shred of explanation or closure, but now for both of them people are willing to wipe out a quarter of their lives waiting. Teenagers are resilient you know? They will be inconsolable if this happened but they would bounce back a lot faster and cleaner than they would expect. The approval of the never moving on this is purely to keep the shipping uncomplicated. There can only be one pairing for Tifa, there can only be one pairing for Aerith. And if you think otherwise you’re wrong in canon. And who wants to write or read about a non-canon ship? Unless its yaoi/yuri in any case. I am so tired)

Childhood friends incidentally is not, however much some insist, a common trope of the series - unless you stretch it a fair amount and it encompasses a trivial number of the pairings. And none of the big ones (you know; Squall/Rinoa or Tidus/Yuna).

Could Tifa do with more backstory? Of course. Did Tifa’s mother deserve a name? Absolutely! But not like this. Not when Cloud helping round up cats in Remake is now tied to finding Tifa’s cat in a new authored backstory. This speaks again to the constant magpie-ing of existing imagery and moments from older parts of FFVII to feed the present. The retconning in of importance by changing the meaning of otherwise unimportant moments.

Tifa is not and never was under any obligation to like Cloud as a child. She did not bully him, but neither should she expected to involve him in anything she did. I understand the book has muddied this gloriously, but for what effect?

I mean, I know where the desperation to make Cloud and Tifa childhood friends stems from. I know why you want Cloud to have fallen in love with Tifa at like age 5 or something and for Tifa to fall in love with him at 13. And I rail against it all the time that its not necessary. Being first does not mean better.

Maybe I am old, cynical and exhausted, but I kind of like watching Cloud and Tifa grow closer in FFVII. I like watching Cloud and Aeris grow closer in FFVII. I like to experience these things where I can... experience them? I don’t like reading books which assert things in blunt statements that clarify exactly what the writer intended. I certainly don’t have the patience to wait for a later book to clarify what happened on-screen when I have drawn my own conclusions based on my preferences. Especially as this is all contributing to that continued sense that the OG is a smelly, badly designed embarrassment we would rather tiday away for the crime of being graphically inferior (never mind it was championed on its looks on release) and “goofy” (and apparently unable to run the gamut of emotions I remember from serious to comedy, to silly, to tragic, to pessimistic and quietly optimistic and moving).

I’m coming back to this point to stress it - I want to see the relationship growth. Remake gave me that for Aerith and Cloud even if the details aren’t to my taste. First meeting is awkward because hey, random stranger/Cloud is tired. Cloud gets involved and spends more time with Aerith. And the high-five thing is used as a clumsy/awkward/eh but clear metaphor for how their relationship develops over the course of their time together.

To the point that yes, it makes sense for Cloud to want to rescue her. Less sense for Elmyra and Tifa to be “Well they might not vivisect her” and then delay for two full chapters, but the whole thing flows.

And here’s where I get accused of being a fake fan: I don’t like how Cloud and Tifa’s relationship develops in Remake. Flirting. Tifa being mildly fazed by Cloud claiming its been five years. Scared when he almost kills Johnny. Maybe hurt depending on your resolution scene (hey podcast people! No Gold Saucer multiple dates because too expensive? How are there branched resolution scenes in Remake then?). But there isn’t growth. They seem to fit into each other’s lives without worry, bit of flirting, strange super-intense moments jammed into inappropriate sequences (the train roll, climbing the plate, Cloud remembering the promise unprompted, Tifa not actually engaged with Avalanche’s plans). There’s no sense anything has changed between them, the missed five years has done anything to them.

And I’m sure some would take this as proof of correctness. But... somehow Remake is better for realism despite a lot of new clumsy, but this relationship is not dinged for being implausible? No way does that five year gap not seriously impact any prior relationship to say nothing of developing from scratch.

See this was a neat thing about the OG; while Tifa seemed to have an edge over Aerith by knowing Cloud longer, he was in effect meeting them at the same point in his life and more or less starting from scratch with both. Both ships are valid, and even if Cloud is with Tifa come the end, it doesn’t mean he can’t have romantic feelings about both women.

Oh, but Nojima has changed his mind/always intended it this way. And? I can change my mind about liking what he’s written - and my patience and tolerance of Nojima has waned massively since 1997. To the point where his involvement invokes a pained groan from me.

Plus the hilarious attitude that this is from the same people who insisted “the OG will always be there, stop moaning about Remake”. Well guess what? I don’t like Remake and I don’t really want it around. The OG is better.

Yes, Tifa is under-served and sure, it could be clearer about shipping (but the apparent hostility to ambiguity and personal interpretation is deeply distressing. These things can mean something to you and don’t have to mean the same thing to everyone. Interpreting the romancs - again - not a competition).

BUT

I will take the OG version of Tifa where she believed in the cause, where she had friends (again, yes, the relationship between Tifa and the rest of Avalanche is not well depicted, but it was better than actively curtailing it), where she ran a bar THAT ACTUALLY OPENED AND SERVED CUSTOMERS, where she hated Shinra, where she didn’t know how to treat Cloud because she had only really talked to him once in her life and DESPITE THAT that they great closer and spent their last night before THE END OF THE WORLD together over the Remake.

Where Tifa is wary of Cloud for about 5 seconds, twice and then defaults to constant flirting. Where Cloud is near smothering Tifa every second they’re together and she doesn’t tell him to fuck off once. Where she’s allied with Avalanche but hates their methods (and the pacifists are in a shop around the corner and she is not with them because...?). Where she has some absurd contrived plot about medical bills and buying Seventh Heaven for Barret and Marlene.

Which would lead to a whole other rant titled “Marle is the Worst” but this has dragged on quite long enough.

But seriously; if you argue that we can’t hate Remake because OG is always there, then you have to stop applying Remake back to OG and using it as proof. Which is exactly why many people bemoaned the Remake at all. OG is one thing, Remake is another. I don’t care for the latter.

And I know if anyone does read all this it will be about the meanie Cleriths who diminish Tifa for no good reason. And yes, they are indeed acting in bad faith. But what makes you think for a second evidence will convince these people?

In particular, the argument has raged so long and always will because if people do not like a ship they will not accept it as canon (if they care about this as a factor) NO MATTER WHAT HAPPENS. Literally. Look at Loki if you want the most recent example of this.

Canon is to many “what I want” and often does not tally with the general interpretation. And you know, if being “canon” or guessing right early wasn’t triumphed as such a vital thing, we might not get these really terrible and pointless arguments.

Canon is a prize but here’s the big secret: fandom - in general - does not care. FFVII is an excellent case example given Sefikura overwhelms the other ships (and I think AZGSC is close?). And that’s not canon. That’s not even in the ballpark of the Cloud/Tifa vs Cloud/Aerith arena (even give that the former is roughly twice the size of the latter, you already won, so please stop?). Canon is only important if you think its important - and you get some more official art of sequences you can gif. And maybe you get kissing/implied sex/marriage/kids, but most of all you get a smug sense of superiority. And the last is why I have no patience with this.

[oddlyhale]

For the RWBY character ask: how about Qrow? :)

My top three ships for the character? IronQrow! TaiQrow QrowCinder

My three least favourite ships for the character? Hummingbird FairGame SnowBird

My biggest criticism for the character. OH, where do I begin with Qrow? At first, Qrow never stuck out to me as someone that needed criticism. He seemed to just be a vanishing mentor that would show up whenever he was needed. But then… V4 happened, and that was the beginning of Qrow’s crushing character arc and development.

Truthfully there was absolutely no reason for him to be on an adventure with the kids. He began to look embarrassing as he was stuck alongside these kids on their trek to Atlas, as if they should be there on their own and he should be somewhere else. Qrow took a massive nose-dive during his run from Mistral to Atlas, worsening his character and stunting his growth greatly. All he really was, was just some annoying adult that the kids had to babysit, and that’s not OK.

I had made a giant post before about this, but to give a TL;DR summary to it: Qrow should’ve left the group after V3. It’s proven that he incredibly useless as a teammate with Ruby and co., so let this guy leave to handle his shit in Atlas. I am pretty sure that James needed him the most, and Qrow really needed to mend their hard feelings in order to get things back in order without Ozpin around. Qrow could also take the time to deal with his alcoholism as he should.

But as he kept staying with the kids, the more his character suffered. We lost that charismatic scythe-wielding demon that made us all love him from V3. It proves that Team RWBYJNPR only stunts the growth of those around them, and thus they should seriously cut them loose to let them develop properly.

My favourite thing about the character. Sadly I begin to forget many things, but what I do like about Qrow is that he still somehow remains to be the coolest teammate of the bunch. Sure his semblance is so fucken lame, but it’s really himself that is the coolest part about himself. He taught Ruby how to build and use “one of the most dangerous weapons ever designed,” and was once a teacher. I would bet he was probably the best teacher, given how much Ruby looks up to him. And Qrow still takes responsibility for them, despite stumbling so much on being a good role model. I think Qrow has a big heart that he wants to show, but he’s too hurt right now to be opened about it.

A headcanon I have about them. I imagined that Qrow grew up in a tribe, yet he somehow turned out to be the least feral one. I always headcannoned that Qrow would distance himself from the tribe often to be more civil, learn how to not act like an obvious barbarian and simply study on how to be part of society’s norm.

What I would change about them if I was making a re-write. Make him take the chances that really cause the trauma.

Sometimes I wished it were Qrow who was the one that killed someone. Not by accident, but out of his own conclusion that he HAD to make that painful decision on murdering someone to stop them from getting in his way. And it’d have to be someone that he really didn’t want to kill - Lionheart, Raven, Clover, etc., Qrow’s pain would make so much more sense. Because honestly the way they clunkily went about his depression after finding out Ozpin lied to him was so stupid. I’m sure a seasoned Huntsman would get over the fact that someone lied to coverup something dire.

But to actually contemplate on killing someone to get through a plan would be more twisted.

OH, and keep his charming attitude from V3. I am tired of daydreaming about an old Qrow still existing in our year - we should’ve kept him as he was from V3. It would’ve lightened up the dark situations greatly and at least still make us care about him.

What I think of their character allusion and what (if anything) I would change about it. I think it’s cute that he can change into a crow, but overall his allusion is pretty yawn.

I would’ve chosen a much more character-changing story that still had his crow allusion. Such as the fairytale The Juniper Tree, how it tells a dark story of a boy who was murdered by his mother, and became a bird to sing his tragic tale of what she did to him. He got his revenge, but it is indeed a dark tale of abuse. I think something this dark could benefit Qrow himself into development, while still able to be that charming and brave Uncle that his nieces need.

It creates a character of someone who came from a family that hates him, yet he doesn’t let it get to him. He does what he can to protect his new family, and perhaps have his own motivation to exact revenge on those who had hurt him in the past. (Like his evil mother is still alive, or how he wants the truth from his father on why he didn’t save him.) And now the story makes Raven look better because she was the only one that loved Qrow, but was too young to do anything. (Because rn her being this morally-grey deadbeat is such a stupid thing RT has done.)

That’s all, thanks!

[belpheroo]

Title: A “maybe” Pairing: Belphegor x MC Summary: Belphie is guilt-ridden, but also horny. Funny how often those two things coincide when you catch feels for the girl you killed. Rating: this one is G despite that summary LOL Notes: This story kinda functions under the assumption that while Belphie was imprisoned the MC developed feels and those feels have continued on while Belphie’s are shiny and new. I may do a part 2!

There were things that Belphegor, given his passed actions, was willing to accept. The silence that overcame a room the moment he entered and even the suspicious, hostile stares of his brothers was something he knew he deserved to endure and he did so without complaint.

Anger, resentment, judgment… he had felt the burn of those emotions himself, burrowing within his body as surely as the arrows that had burrowed into Lilith’s. Each ache, each flare of pain had been as dear to him as every one of her embraces. He had nurtured his hatred like a precious flower until it unfurled in his chest with petals as black as old blood. He empathized with that. He understood that.

What he did not understand, was how she immediately cheerfully welcomed him to the breakfast table, set him a plate and asked him how he had slept.

At first, Belphie figured it was a game, a show of indifference or forgiveness of his crime in order to quell the awkward tension in the room. And yet… there was nothing indifferent in her acceptance of his request to spend time with her, or how she did not even flinch in his presence.

What time he did spend with her was usually between walls of plaster and paint, connected by the screen of their D.D.D.’s alone. Anything else was chaperoned by another brother, sometimes two or three. Belphie found quickly that all his attempts to be alone with her in person were thwarted spectacularly by Mammon or Beel often enough that he knew it was by design.

Still, Belphegor did not complain. Of all the dangers she had faced in Devildom, of all the threats… he had proved himself the worst.

Thinking of such things made his hands throb, the memory of her soft yielding skin beneath them and the rapid pulse of her throat until it had slowly… softly…. stopped.

He’d tear the skin from his palms if he knew it would make the phantom sensation of her life being squeezed out by his hands go away. Instead he’d clench his fists, holding until the joints of his fingers screamed for release and his nails bit into his palms, leaving red half-moons indented in his skin.

It would have been easier if she hated him. Feared him. He could quantify those things, he could accept them.

But this? This was torture beyond his comprehension.

She’d invited him to watch some DVD of Mammon’s with her and Beel in their shared room. She was already sitting on one end of the sofa, chattering to Beel over some nonsense that had transpired with Mammon and Asmo that afternoon.

He would have been content to sit on the other end of the couch, leaving Beel free to sit between them like a protective detail… but instead, the moment he had sat, she quickly moved across the length of the sofa and curled up next to him.

Pressed flush to his side, Belphegor felt his breath catch as she lifted up his unresisting arm and tucked her head beneath, content to let his arm rest around her shoulders. Belphie quickly moved it to rest over the back of the sofa, noting with a quick glance that at least for now, Beel had not reacted.

He was too busy putting in the DVD and adjusting the TV. After that, his twin was too busy gathering up a large bowl of popcorn and making himself comfortable next to her and she happily adjusted to accommodate being squished between the both of them.

Belphegor didn’t know why, but it made him curl his arm just a little bit closer towards her as Beel munched happily from a big bowl of popcorn. There were pretzels and chocolate candies mixed into the batch, which Beel graciously offered a smaller bowl of to her.

She rested the bowl on Belphie’s lap, happy to force him to play side table as the lights dimmed and the DVD started.

Belphie convinced himself, willed himself to believe it wasn’t that bad. This was nice, wasn’t it? Compared to hatred and brimstone and fury? Right?

And then her hand reached down into the bowl, moving it around as she scooped out the treats, every tiny movement of her fingers against the plastic barrier sending a direct line of sensation against his thighs. With an exasperated sigh, Belphie quickly lifted the bowl up and shoved it back into her hands.

“I can’t sleep if you do that.” He said in a harsh hush.

“You aren’t supposed to sleep during the movie, stupid.” She whispered back in reply.

“You aren’t supposed to talk during one either, stupid.” Belphie replied, but to his surprise he could see her grinning in the faint light, eyes dancing with unspoken humor. She put the bowl back in his lap.

He wished he was trapped back in the attic; he wished he was imprisoned in heaven; he wished he was on the fucking moon as long as it wasn’t here with her body warming his and her scent in his nose and the feeling of her throat cracking beneath his palms.

Belphie took in a deep breath and let it go slowly, quietly clenching his hand into the fabric of the back of the couch until he was certain he’d have lines imprinted on his skin. He let the memory wash over him and then recede, refocusing his attention to the film and finding it was some weird detective-comedy-romance blend. It was insipid and perfectly Mammonish, but even she sometimes laughed at the terrible jokes.

At one point, he felt her weight shift, leaning to the side as she whispered something quietly to Beel. Something prickled in his chest. She leaned further, cool air touching where she had once been at his side and without thinking, he released the couch and took hold of her shoulder, pulling her back firmly.

“… I’m cold.” Belphie offered in his defense, trying to cut the sudden surge of tension that had Beel frozen, not even chewing as he stared at his twin.

“Oh, sorry!” She said, settling back against him, “I could get a blanket and tuck you in if you want?”

“N-no!”

Heaven’s sake, now he sounded like Mammon.

“Just quit wiggling so much.”

In direct opposition of his request, she wiggled all over, giggling like a fool. Belphie instinctively held tighter until whatever seizure of defiance passed her and she settled again, breathing a bit heavier, against his chest.

There wasn’t going to be room for her damn bowl if she kept trying to half crawl into his lap. It never, thankfully, went that far. The film flickered on and Belphie felt the slow creep of sleep inch its way into his eyes and into his breathing, the demands of being the Avatar of Sloth rising up, unchecked and uncontrollable as Beel’s hunger.

He tilted his head back and let oblivion have him.

—

“You missed it.”

A voice sliced through the dark, close and warm on his cheek like the soft exhale of breath… because that is what it was. He opened one eye to spot her, whispering close to his ear. Judging by the great collapsed mass next to them, Beel hadn’t made it any further than he had, the empty popcorn bowl discarded on the floor along with several wrappers, bags and empty cans he didn’t remember having been there before.

“Tragic.”

“Beel’s in a food coma. I went and got him more snacks half-way through.”

“You got up?”

She hummed her confirmation quietly, “You got mad at me when I came back.”

“I don’t remember.” Belphie grumbled.

“You told me to ‘take responsibility’ and grabbed me by the scruff like a cat.”

At the very idea, Belphie felt his muscles tense… which drew his attention to the fact his hand was still rested on the back of her neck, fingers buried into her hair.

“… is that why you’re this close?”

“You wouldn’t let go!”

He started to, slowly letting his grip loosen all the while keenly aware of the strands of her hair tickling across his skin.

“Kinda late now.” She said in reply, quick and defensive. Did she… not want him to stop?

“I wondered if you were dreaming about throttling me again.” She said, far too cheerful. The words were like ice thrown over him, seeping immediately through his skin and chilling his blood. And yet at the same time, he let go of her as if he had been burned. He tried to repress a shudder.

“No,” Belphie managed to croak, “I wasn’t dreaming. I… I wasn’t dreaming.”

“You repeated yourself.”

“Get off me, I’m going to bed.”

“No.”

Childish, defiant, foolish. A thousand insults formed and died on his tongue before they reached her ears as he glared back at her face, still too close and too warm and too beautiful.

“… I’m scared.”

How many times was she going to strike him directly to his very soul? But this was is it, this was the punishment he craved, the anger and the fear he knew should exist between them. He was ready, braced and prepared to hear it, but what came next was… not what he expected.

“I’m scared if I let go now, you’ll never let me this close again.”

“You should be grateful.” Belphie said, more sigh than words, “And you should be scared, but not because of that stupid reason.”

“You won’t hurt me again.”

“The fact you even sound remotely sure of that makes you a complete idiot. I’m a demon, of course I’ll hurt you again.”

“Because you want to?”

“No!”

The word came too fast, too loud. Beel shifted on the couch next to them, but fell back into sleep and did not stir again.

“… you didn’t know I was Lilith’s descendant. If you’d known—”

“You don’t understand anything,” he whispered, harsh and low, “Get off of me.”

And this time, he made to make her, but her arms snaked around his chest and held even tighter. Belphie could have easily pried her off with his superior devil strength, but explaining that to Beel would have been… less than ideal.

Instead he set a tight grip on her upper arms, giving her a warning squeeze.

“What don’t I understand?”

“Are you seriously doing this right now?”

“You wouldn’t have hurt me if you knew who I was, that is the truth, isn’t it?”

“I do not want to talk about this shit—“

“Isn’t it?”

Belphie felt heat ball up at the base of his throat, so thick and so scorching his one relief was to let it escape.

“I don’t know!”

There was no keeping Beel asleep now, his brother jolting awake. She let go of Belphie then, untangling herself swiftly and instead turning a bright smile that barely reached her eyes towards Beel.

“Good morning! You missed the end of the movie!”

Beel was still mostly groggy, but alerted at the same time, looking between the two of them with wide questioning eyes.

“… why was there shouting?”

“I woke him up!” She said with a cackle, “I deserved it, probably. Anyway, it’s super late and you both got to have a nap and I didn’t!”

Standing up she gave an over exagerated stretch and a yawn which turned genuine half way through. Belphie clutched his jaw together to keep himself from doing the same.

“Come walk me back to my room.” She said, clearly meaning Belphie, not Beel. He thought to refuse, but the look in her eye said that such a refusal would most likely lead to an inexhaustible battle and he was way too fucking tired and too fucking stressed out to go back and forth with her in front of Beel.

“I can come too.” Beel said.

“Nah. It’s just a short walk. Go get in bed, it’s late and Belphie has had more rest than you. He can do it!”

Beel looked uncertain, eyes turning toward Belphie with ill-ease. Of all the brothers though, he was most likely to believe his twin was safe alone with her, that Belphie was certain of. Sighing, Belphie stood up.

“I’ll be right back.”

Beel said nothing, that familiar tension settling over again until, quietly, Beel nodded to himself and smiled.

“Okay…”

“Make sure to brush your teeth, Beel!”

“O-oh. Right… mint does sound good right now.”

—

They had barely made it out into the hall, the door shut behind them, before she picked up their conversation as if the interruption had never happened.

“What do you mean ‘I don’t know’, huh?”

“I mighta done what I did even if I knew who you were. Maybe I wouldn’t have believed it, maybe I would have been pissed Lilith was contaminated by human blood.” He said, cold and factual.

“Is that why you’re holding back?”

“…You’re imagining things.”

She didn’t look at all satisfied, but she fell silent, heading off down the hall towards her room and pausing expectantly a few steps away. Belphie sighed and followed behind.

“I don’t think you would have.”

“Does it matter? I did. There is no taking that back.”

She tilted her head, slowing enough to fall in step with him, “I’m still here.”

“By the very grace of Lilith. And that doesn’t make it better.”

She slowed, falling to a dead stop. Belphie made it a few steps ahead before he stopped, turning towards her with a look that he hoped convinced her to give it up.

“If I told you I hated you, would you stop being like this?”

He felt his heart seize a little, jumping in something akin to anticipation.

“Could we just move on then?”

“I would understand if you did hate me.”

“But you can’t understand that maybe, maybe, I’ve weighed all the weirdness and the madness of this situation and came to the conclusion that there was a lotta bullshit flowing around and it was fate I got caught in the crosshairs? And yeah, that sucks. Being dead for real would have been really shitty and I am mad… at you and at Lucifer and at this entire stupid situation pulling me into a garbage family drama I never asked for.”

She paused, “But it was supposed to happen. Lilith knew and I know now. Nothing anyone coulda done would have changed what happened, it had to happen. It’s why I was brought here to begin with, whether Diavlo knew that or not.”

They were both silent for a stretch, until Belphie couldn’t help but laugh, cold and bitter.

“What? So it’s okay that I murdered you because it was destiny?”

“Attempted murder. And yeah, I think that if I’m gonna be mad, I’m gonna be mad at fate. You? I forgive.”

Belphie hated that word. Hated how easily it came from her lips and hushed the flame of rage in his heart to a quiet simmer. It was never that easy for him to forgive, it shouldn’t be that easy.

“You can’t.” He said, flat and simple.

“Pretty sure that is my call.”

“It’s a stupid call.”

“And it’s mine.”

“And you think that makes it all okay? You think you can just say ‘I forgive you’ and it makes everything better and we can just pretend to be friends?”

“You pretended to be my friend once.” She said, her words a whisper.

“Don’t.”

How that positively gutted sounding voice could be his was beyond Belphie’s comprehension.

“You wanna be hated? You wanna be punished? Too bad. That’s your punishment. You don’t get to be hated.”

His mind whirled, a petal black as night coming free and falling from the flower inside his chest. Wilting, dying. How many had he lost so far? How often had she shaken his resolve and in doing so, began to kill the seed of hatred and anger he had rooted so firmly in his soul?

Belphie didn’t have the strength to fight her anymore, shoulders sagging as a new wave of exhaustion hit over him, taking with it any resistance he had left in its tide.

“Fine.” He said, trying to force what was left of his resolve into that word if only to give the illusion she hadn’t really won.

“Fine.” She repeated, crossing her arms and glaring back at him.

“Can you make it to your own room now? Can I go?”

“No.”

“I’m not sleeping with you.”

“W-what?! How did that become an—! Oh… you meant…”

Belphie resisted the urge to roll his eyes… well, at least for a few seconds.

“You’ve been spending too much time with Asmo.”

“And whose dumb-obstinate fault is that?” She retorted, smiling despite the redness in her cheeks.

“Yours, stupid human.”

“Yours, lazy cow.”

A smile crooked at the corner of his mouth and he quickly tried to hide it.

“I want a hug.”

God, how did an adult woman manage to sound so pouty? Belphie could barely contain a scoff as he saw the way her brow furrowed and her bottom lip stuck out a bit more. He tried to ignore the voice inside him that wanted to set his teeth into it… that wanted to find out if she still tasted like popcorn and chocolate.

“Too much.”

“What about a pat?”

Belphie groaned, but after a moment, gestured a little with his hand to indicate she should come closer. She did so eagerly.

“Your tail is wagging.” Belphie said with a sigh, gently resting his hand on top of her head and soothing his fingers down the strands, brushing them passed her temple and tucking them behind her ear.

“I don’t have one.” She said, a look of disappointment coming over her features when he stopped touching her hair.

“Still wagging.”

He caught her under the chin with the back of his index finger, tilting her head to the side before he leaned in and pressed his lips to her temple. The touch was featherlight and fleeting, like the soft opening and closing of a butterfly wings on her skin.

“Go to bed.” He said quietly.

“I want a kiss.” She replied, just as softly and Belphie felt a whole new sensation burst somewhere deep inside his chest.

“You’ve had one.”

“I want another.”

“…Not tonight.”

“But sometime?”

Belphie didn’t answer, leaving the question an open note hanging in the air.

A someday, an almost... a maybe.

[atlasifyllm]

Tell me about Elliot?

Ah, the Elliots.

First one off the bat is Elliot from Zero Percent. I wanted a more flamboyant singular singer since the story is based off of bands and such. I made him in Charat Choco a long time ago, mostly because I just dig the hypothetical aesthetic. ZP is a very “low tier” story, so I don’t think you’d hear about him quite often.

Second one is Elliot from Infinity Crisis. No art of him exists online, but he’s very much inspired by Yang from DOTS:DR. Elliot’s a bit more interesting since he’s canonically a hacker working with his boss... who I am considering name changes for but I’ve tossed around Imogen/Kai/Taylor so far. Elliot’s a very :3 but sinister type of way, since he’s initially introduced as an antagonist to... I guess the now-previous-protagonist Michael. Elliot seems like he doesn’t take anything seriously and is in a constant state of “murderously cute”, but he knows the backstory of the virtual reality game (Infinity Crisis) and wants to keep Michael out of it before Michael ends up setting off the wrong chain of events. He hates seeing how much the game mentally impacts Imogen/Kai/Taylor, but lets them do whatever in hopes that they can fix what’s wrong with the game or themself. There’s not a lot of IC scenes that I’ve plotted, but the one scene involves Elliot dumping I/K/T’s (tragic) backstory to Michael and just going “Bye! uwu!” and leaving. 

The the best Elliot I have right now is from DOTS:DR! His full name is Elliot Wolfsbane. He’s a violet soul whose name comes from purplish flowers (Elliott’s Aster and Wolfsbane). He shows up in Arc 3 as a professional tournament fighter. He’s the team leader of a group that involves more tourney fighters like Alexandrite “Alex” Haint (also his boyfriend), and some others I’m trying to figure out still. He’s seems like he’d be a more broody/dark type of guy, but in reality he’s an emo boy with a good heart. He’s also a Stygian (aka: he has shadow powers) and bonds with Ame as a fellow trans peep that have violet souls and are Stygians. This is technically unnecessary backstory for a side character but I like to imagine Elliot used to hate tournament fighting, until he started doing more introspection for himself. He’s quite charismatic and became more confident as a tournament fighter, and plays someone in Aura Signal or some other fake in-universe DOTS anime. He knows he’s got what he’s wanted, but wants to help other people take that first step as well. I’ve written a drabble where Alizarin and Elliot bond in a hospital, and Elliot gives Aliza that confidence to keep on doing tournament fighting. He’s an intimidating side-opponent for the Paladins in the Arc 3 tournament; since his confidence has made him more powerful and his charisma leads him into having the best leadership skills throughout all the team leaders. I have yet to design him to be honest, but he definitely has a trenchcoat of sorts lmao. You can never have too many bishie anime swordsmen.

You won’t hear a lot about the Elliots since 

- ZP Elliot is from ZP, which is a lower tier story that I just don’t touch

- IC Elliot is from IC, which is a tough story for me to write personally and is being revamped anyway

- DOTS Elliot is a side character who shows up way too late and in a tight spot that leaves no room for intense development

But like. I love the name Elliot. Just rolls off the tongue quite smoothly. Heck, there’s been ideas of another Elliot in Dream.exe too.

If I do talk about an Elliot tho, it’s most likely gonna be DOTS Elliot. I’ve always wanted an OC named Elliot and he fits the “Elliot” vibes the best. He’s still a side character tho D:

[zuzuslastbraincell]

For the salty ask game: 6, 10 and 16? <3

6: Has fandom ever made you enjoy a pairing you previously hated?

I never used to like kataang or maiko much, but I’m good with the former and really like the latter now.

while I’m still not a big fan of the kataang (without wanting to write an essay: ember island players ruins it for me), I’ve softened on it a lot largely just from seeing the content for it on here. they’re just honestly very sweet? I don’t know if it’ll last for practical reasons, but the idea of aang & katara offering each other hope from the beginning and until the end is just lovely. 

as for maiko, I absolutely love the strength of mai & zuko’s dynamic (platonic or romantic) just from their boiling rock interactions alone. I feel like a lot of early s3 maiko very much demonstrates that they have some communication difficulties to work through together (thinking about the beach in particular here, but also the ‘are you cold?’ scene, as well as the break-up via letter interaction, that’s the big one) and in a sense mai represents part of zuko’s ‘ideal’ life as a perfect prince that he realises that he has to break from in the first half of s3, but I’ve come around to the idea that if they spent some time working through their communication issues they could really have something lovely? I do also think mai deserves a short break from the stifling culture of nobility/time to explore herself first, but after that? totally could work. like, i’m personally really attached to the gay zuko headcanon and always have been but a lot recent mutuals are maiko shippers and i’ve become very attached to maiko as well because of them (in parallel universes of course).

16: If you could change anything in the show, what would you change?

so many things....

1. less racist, more sensitive worldbuilding. crucially better south asian rep, clear south asian rep. this also means including removing the caricature of guru pathik and changing the design of combustion man (and p’li) not to include a reference to shiva. the show’s philosophies and vocabulary owes so much to south asian culture and the lack of representation in that aspect alone is shocking.

2. references to the fact that there are some air nomad survivors / descendents in hiding in various and that being a late s2 / s3 subplot. (maybe aang is still the last airbender tho? but certainly his culture won’t die with him). the culture isn’t perfectly preserved / has changed with time and enduring hardships, some things have been lost, but there are still survivors clinging on, proud. maybe it’s this community that helps with him the avatar state, not a random guru? or they could help him with his s3e1 dilemma about ‘blending in’, as many of them have discarded certain aspects of appearance in order to hide? i feel like this could add so much to aang’s arc in the latter half of the show.

3. better writing of the white lotus, with the white lotus as a international resistance org that operates in all nations, that uses old man’s pai sho club as a front. they’re introduced as opposing the dai li in ba sing se, as trying to organise resistance in secret, have ties to some local revolutionary/radical factions as they have a long standing rivalry with the dai li (& part of the reason the dai li side with azula is to crush the white lotus and resistance to their reign). iroh is not grand lotus but merely gets recruited in s2, as part of a redemption arc.

4. a subtle iroh redemption arc where iroh realises he cannot simply be passive and perhaps let the treasonous thought ”hm, maybe it would have been better if the avatar fought sozin” cross his mind - he needs to take a more active role in opposing the fire nation, and he joins the white lotus. i think he also needs to reckon quite specifically with the cost of the siege of ba sing se, he needs to make amends to those hurt from it on both sides - be confronted by fire nation defectors who left after the siege because why were their deaths less important that his son’s? as well as encounter how the siege left scars on the lower ring, in a less visible way (untrained lower ring residents formed resistance militia and generally died in huge numbers; plague and starvation greatly affected the lower ring, etc.). no iroh as a moral authority here - he’s morally grey trying to become good. also he doesn’t stick around in ba sing se, he realises the jasmine dragon, as lovely as it is, isn’t true redemption either, and at the end of the series he stays in the fire nation.

5. leading into point 3 (and 4): in s3 the gaang encounters and works with grassroots underground resistance in the fire nation. i think this is a better message than ‘oh the fire nation is a soceity ridden by class division that exploits its poorer / less privileged people and its own environment as long as it doesn’t affect the elite, and turns even its most privileged children into traumatised child soldiers and is indirectly hurt by its own colonialism and imperialistic culture, and that’s deeply sad’ - i think a better message is ‘the fire nation is a society with all those problems and you can do something about it. you can stand up. even though that’s scary.’ this resistance group is around for day of black sun (in fact they’re vital to it) and then you see a key member in boiling rock too.

6. no combustion man. honestly? weak writing. would much prefer zuko attempting to ‘stealthily’ track the gaang on the false premise of a ‘welcome home tour’ where he slips out under night to try and chase them down - this would mostly be alluded to in a few scenes. i also think this would get zuko to realise how much the fire nation itself has been hurt from war. i think the main early s3 plot points e.g. the beach episode still happens, as does the war meeting. i feel like zuko would need extra firepower to be a decent s3 threat - maybe he takes mai and ty lee with him? zuko ultimate lesbian ally takes bored lesbians from the palace for a knife throwing chi blocking field trip kjfshdj i’m joking. but seriously we could also have a combustion bender on board as well as a potential new character (i’m imagining someone like a younger p’li if i’m honest, same age range as zuko), as long as they have a character beyond being a scary assassin. maybe they defect early to the resistance group before the day of black sun, tell zuko they should too (but zuko doesn’t listen)? that’d be rad.

7. the existence of grassroots resistance would basically allow for the series to end with zuko being offerred the crown, but deciding to give it up / end the royal line. rather than a power vacuum, or iroh, the existance of resistance means there are clearly people (i.e. adults) who can fill that space. maybe this is a bit optimistic of me but i would just love to set up a scenario where zuko doesn’t become a boy-king of an imperialist nation and where absolute monarchy doesn’t continue, where there’s a clear shift in system. i understand the narrative power of zuko acknowledges he has inherited wealth and power that has been gained through exploitation and imperialism, and dedicating his whole life to undoing the damage his family has done, but i think he can do this without being the fire lord? in fact not being the fire lord is a good first step. zuko finds another way of doing exactly this.

8. talked about this a lot recently but better toph s3 representation & greater ties to the earth kingdom. also, i’d just appreciate a lot more flavour from the earth kingdom as a whole, and more prominent characters from there?

9. okay i’m not sure there is quite honestly space in the narrative for an azula redemption clearly on screen in as much depth as zuko’s but 1. i’d like iroh not to treat her horribly, thanks, and maybe even try to reach out to her at appropriate moments, maybe we see him (comically) say a lovely warm hello during her s2 appearances, maybe we see her play pai sho with him in s3 while he’s in prison in return for some secret info he’s not actually giving her while he’s not-so-subtly suggesting she should defy her father (but it’s too little too late, he already *chose* zuko in her eyes, and perhaps he did and is only just beginning to realise that) 2. i would like some hope and optimism at the end for azula. her breakdown is truly tragic but it feels like pain for pain’s sake in a sense - i would have loved for the finale scene with zuko & ozai replaced with a scene where someone visits azula and tells them they’ll be there for her and/or they love her. perhaps iroh, perhaps zuko (though i think that one would be more complicated obviously). i would love a post-finale scene where iroh sets up a tea shop somewhere in the fire nation where we see azula out the back, finishing up wiping down/mopping the patio, and before aang goes inside to say hi to his friends, we see them bump into each other - azula bows deeply, a clear apology, and aang accepts it. then we see azula runs off to go hang out with some friends before we follow aang inside as he encounters his own friends.

basically i’d rewrite a lot of s3. i’m dearly, dearly attached to s3, especially the second half, which has some of my favourite episodes of the entire season, but i think it’s flawed.

[drshebloggo]

Ask box: JUSTICE FOR LANE KIM, a breakdown.

Anonymous asked: Do you know why Lane disappeared from the show as Rory's best friend over time? She appeared every now and then, yeah, but it has always bothered me that she slowly faded from being Rory's best friend to nobody... am I remembering things wrong?

I do not know! The Palladinos make decisions that sometimes are simply beyond my comprehension.

It’s been awhile since I watched Gilmore Girls in its entirety (and I kind of selectively ignore a lot in the last two, three seasons) but I don’t think you’re remembering things wrong. I will say, though, that the show faced a challenge with all of the Stars Hollow supporting ensemble when Rory went off to college. It’s these kind of problem-making focus shifts that I find really interesting, and they are UBIQUITOUS across teen/high school shows when a character or ensemble graduates.

Most of them that I can think of are done poorly, maybe with the exception of Friday Night Lights. But in defense of these shows, it’s HARD. How do you embrace a fundamental shift in the entire premise of your show? How do you deal with the new geographies of this shift, and the way they ripple into beloved character dynamics? How do you evolve a character through an engaging and meaningful arc without abandoning the foundation on which they were built? And how do you still capture your audience’s attention when there’s a risk that you’re leaving behind the magic that captivated them in the first place? IT’S HARD.

So in the case of Gilmore Girls, Rory at Yale is the shift that moves the show into a new paradigm, and it’s a big one. She’s separated from Stars Hollow and slowly beginning her emancipation from Lorelai, which is, on principle, painful for the audience because it’s directly against the show’s premise. (It’s no coincidence that the Palladinos starts seriously building the Luke-and-Lorelai-of-it-all once Rory’s away at college. Give that empty-nester some new story!)

Of course, Lane is right behind Lorelai in the list of People in Stars Hollow that Rory is Leaving Behind. How is Lane supposed to stay a part of Rory’s story when Rory is in a new context, and Lane is not? But, truth be told, Lane was ALREADY in this role. In seasons 1-3, LANE, not Lorelai, was #1 on the list of People in Stars Hollow that Rory is Leaving Behind. Ultimately Gilmore Girls is a story of two worlds, and Rory going to Chilton begins her passage across the into the New (Old, with Baggage) World. Lane is already being left behind, to some degree, and in seasons 1-3, there’s still room in the show’s universe to address those issues and give Lane some good storylines of her own, especially in conjunction with Rory.

So it’s possible that the issue is not necessarily one of screentime or setting. Whenever I hear the rebel cry of JUSTICE FOR LANE KIM resound in my heart chambers, I mostly think of the kinds of storylines that befell her in the later seasons, not simply in their detachment from Rory. Heeding her mom’s insistence that she attend Seventh Day Adventist college. Fracturing her relationship with her mom in order to pursue her dreams. Getting kicked out of her home. Living with her two boy bandmates who are very stupid and very messy. Never really getting the band off the ground. Her first sexual experience being terrible. Her first sexual experience being terrible AND yielding a pregnancy with TWINS. Why do the Palladinos hate Lane Kim!!! The only thing I wholeheartedly love about Lane’s later storylines is Luke hiring her to work at the diner and then being completely overwhelmed by her sheer competence.

It’s probably important to note that the mere construction of Lane Kim’s character is a bit tragic. The Palladinos are VERY good at building conflict and tension into what seems like simple character descriptions. Here’s this girl that loves rock music to an obsessive, encyclopedic level, wants to play drums in a band, and she’s from a strict religious household where she can’t express any of that. The description itself inherently means that things are going to blow up for Lane at some point. That’s okay, to some degree - that’s conflict, that’s drama, that’s good story.

So if we look at Lane’s arc pre-blow-up, and post-blow-up, the satisfying thing would be for Lane to experience some kind of happiness or success living unstifled in her dreams, to offset the trauma that her family relationships are ruined (at least for the time being). But the Palladinos don’t even do that! It’s encapsulated in the incident that tears apart Lane’s relationship with her mom: she goes to play at CBGB, her mom finds out and kicks her out, and the band doesn’t even get to go on!! The Palladinos love PAIN.

And okay, fine, there’s still some defense that that is well-designed drama and story. (And Lane and her mom do reconcile eventually, and it was at least very affecting, from my memory.) I guess you could argue that Lane IS happy with how things turned out after the lifelong lie she’s lived completely unravels and she’s able to just exist, unguarded. But also... the Palladinos wrote her that way??? And regardless, for me, the issues arise more down the line with Lane essentially staying in Stars Hollow. Wouldn’t unshackling herself from the yoke of her mother mean that she’s free to pursue her dreams? And wouldn’t pursuing her dreams necessitate her to ALSO leave Stars Hollow, like Rory herself? Would she not try to scrape together money to move with the band to New York City and hit the big time? (Bear in mind, I have no idea how the music industry works.)

Ultimately, Lane’s story in the later seasons puts the writers in a Catch-22. If she leaves Stars Hollow and goes somewhere else to pursue her dreams, she’s almost certainly written off the show. She’s a supporting character, and they can’t open up a new world beyond Stars Hollow and New Haven, just for her. On the other hand, if she stays in Stars Hollow, in keeping with the geographies of the universe, she stays on the show, and just... gets really disappointing storylines. I’d be inclined to keep giving Keiko Agena a paycheck. 

(Now, the fact that WB threw money at a backdoor pilot for Jess Mariano to go to California and open up a new world for a weakly-premised spin-off, and did no such thing for Lane Kim, is some bullshit. Literally “moving to the big city to live a dream” is SUCH a well-worn trope that all the storylines are essentially handed to them, and it’s almost inherently refreshed because Lane is a Korean-American woman and not a brooding white guy or a quirky white lady. You FOOLS, you could’ve made that show with your EYES CLOSED.)

Anyways.

I’m going to meander my way further off the main point for a moment to kick up some dust on JUSTICE FOR RORY GILMORE as well. When you write ten paragraphs lamenting Lane Kim’s eternal relegation to supporting role, it’s hard not to be cranky about affording world-opening and story-building for a main character instead. (Spin-off Jess very much deserves the crank, though.) But, frankly, the unyielding walls that the Palladinos built to construct their very effective Two-World Universe don’t do a lot of favors for Rory Gilmore either, in the end.

Basically, this construct of Stars Hollow ensemble and New Haven future means that Rory is the only one who will “get out” of Stars Hollow, because she is structurally decreed to do so. It’s the massive conflict that the Palladinos smartly built into their little generational premise: Lorelai fled her parents’ world, and Rory will slowly be lured back into it. Pain ensues. This is good drama. This is good story. This is story that will last seven seasons and six-hour revival.

But it also inadvertently makes Rory the Chosen One, in a story that doesn’t need one. This is not Joseph Campbell’s Hero with a Thousand Faces, and I’d like to believe that even Paris and Rory wouldn’t want it to be, much as they love the Power of Myth. Lorelai divests her entire life into Rory’s success; the town of Stars Hollow wants Rory to spirit out of their small town and Be Great; Rory’s grandparents expect her to follow in Richard’s footsteps and also carry out their orphaned dreams for Lorelai. And then the Palladinos choose little things that further this: Lane doesn’t ever leave Stars Hollow; Paris doesn’t get into Harvard but Rory does; Luke interrogates any boy that comes near Rory because no one is good enough. (I confess, I’m charmed into forgiving the last one.)

It’s much too much to put onto one character and leave unaddressed!!! It’s also why some audience members just really hate Rory, in a really unfortunate knife-twist on an otherwise-winsome main character. They hate the unwillingness of the narrative to acknowledge this very obvious dark and specific underside to Rory’s specialness, and the unwillingness of people within the narrative to name this very obvious dark and specific underside about Rory. But to paraphrase Jessica Rabbit: she’s just DRAWN THAT WAY!

Rory’s storylines never really confront the idea that she has had FAR too many unrealistic expectations put on her by literally everyone that’s ever existed in her life, and what it might mean if she doesn’t live up to them. What does it mean if she’s not Christiane Amanpour? What does it mean if she’s scared of disappointing people? What does it mean if she’s trying to live up to other people’s standards rather than examining what she really wants?

The Palladinos completely ignore this, and simultaneously give Rory multiple meltdowns (cheating with Dean, being cowed by Mitchum Huntzberger, stealing a boat, quitting Yale, an aimless/struggling career) and they never QUITE dig into the complete dark and specific issue at the core of Rory’s character construction... which just exacerbates the Rory hate. Rory has no self-awareness; the writers give her no self-awareness; we go in circles, and every few years there’s a slew of thinkpieces about how selfish and awful Rory is.

What makes it worse is that those questions outlined above are essentially applicable for two other women on the show: Lane Kim, and Lorelai Gilmore II, herself. Lane, like Rory, doesn’t quite bust through and answer them wholly. Lorelai, however, comes into the show having already answered them, years before, when she was a headstrong and tenacious teenager. The idea that neither Rory, her actual daughter, nor Lane, her spiritual inheritor of Parental Disapproval, are ever able to grapple with those concepts in a real way, and blossom into self-defined adulthood the way that Lorelai did is maybe the bottom line on where Gilmore Girls went “wrong.” Lorelai’s legacy is not that she’s hyperverbal, loves junk food, and got pregnant young. It’s that she rejected the expectations of her forebearers and carved out a place in the world for herself by her own definition, for better or for worse. It’s why Lorelai comes out of the narrative like a Super Mom, when in fact she’s still just as deeply flawed as Emily or Rory, and why Stars Hollow is overall magical and cherished despite it serving as a small-town hometown for Rory to leave behind. And it’s why A Year in the Life was SO satisfying for Emily Gilmore, because she proved it’s never too late to answer those questions and break through to the other side. Perhaps we’ll get enough revivals to see the same happen for Rory, and for Lane.

But enough dust about Rory. I think, after all this nitpicking, there were two options for the best way to have handled Lane Kim after Rory went off to college:

1. Give her a backdoor pilot and spinoff to Band Dreams NYC. Which, of course, was not in the Palladinos’ control, so, y’know, fine.

2. Keep Lane in Stars Hollow and give her a chance to answer those questions about self-definition and live out a few years of Lorelai-like hard-but-happy independence (and better sex) before saddling her with Zach and two babies (if you MUST). Bonus points if she moves in with Lorelai and they bond over being fundamentally disappointing to your parents and also missing Rory. A very good obvious choice.

Secret option 3. Just let Lane move to New Haven and live with Rory and Paris off-campus, and give me the goddamn roommate comedy of my dreams. Honestly this is what they should’ve done. Forget everything I said. This is my answer.

Tiny footnote: I cannot BELIEVE, that after twenty years, I am just now realizing how on-the-nose it is that Lorelai escaped from the clutches of New Haven and started a new life for herself at a place called INDEPENDENCE INN. Truly, it was right there in front of me and I didn’t even notice. This oversight might weaken the integrity of the thousand-paragraph essay I rattled off above...

[innuendostudios]

A short video about story structure, capitalism, and Blade Runner 2049.

Support this work by backing me on Patreon.

Transcript below the cut.

Can I ask you something tricky?

In this scene… does consent exist?

Here we have Joi, a holographic girlfriend, programmed to love you but who cannot touch you, and Mariette, a replicant sex worker, programmed to fuck you but who has no strong feelings about it. Put them together and you have almost an entire lover.

Now, I imagine the value of a replicant sex worker is the same as with any automation: a mechanized warehouse never takes a bathroom break, a self-driving rideshare won’t refuse you service for acting inappropriately, and an automated sex worker never turns down a john. Or maybe she can; it’s unclear. Part fo the premise of Blade Runner 2049 is that modern replicants don’t break the rules. [“My kind don’t run.”] Yet the movie is full of replicants breaking the rules. They have some latitude. But the whole reason synthetic laborers exist is because, though the rules may be bent or broken, they constrain replicants in ways they do not constrain humans.

Mariette is told by her madame to go home with Joe and plant a tracker on him that will become important later in the movie. So maybe she can say no to Joe. But can she say no to madame? Both are open questions.

And then there’s Joi. Joi loves her man with all her heart, because that’s what she’s built to do. She is an operating system whose primary function is to love the user. She has no choice in the matter. But, then: who does? None of us decide whom we fall in love with. That is something everyone who’s ever lived has shared with Joi. The difference between us and her is, in Joi’s case, someone else decided for her.

So I ask again: can either of these women consent? Or was consent granted on their behalf the moment they came into existence?

Now, say Mariette can’t say no; how different is she, really, from a human sex worker who goes home with a john she’d rather turn down, or, for that matter, an office worker who goes to work when she should take a sick day, because it’s a lean month and she needs the money? That ain’t trafficking, it’s just capitalism. The Amazon worker who pees in a bottle, the Lyft driver who doesn’t kick you out for being a creep, they live by the same law: give your employers as good as an automaton would or maybe don’t get paid.

And “do what we say or don’t eat” is, technically, a choice, but I wouldn’t call it agency. And did any of us consent to this system? Or was consent granted on our behalf when we were born into it?

I think about agency a lot at the movies, because all the screenwriting and story structure books stressed that agency is the line that divides subject from object.

There are a few ways a story communicates who the point-of-view characters are. Whose eyes does the camera most often see through? Whose perspective are the flashbacks from? A big one is: who has plot agency?

A plot is a sequence of events, where Event 1 causes Event 2 causes Event 3, a chain from beginning to end connected by therefore and but. Searching for the missing child of a replicant woman, Joe finds a date carved on the tree where she was buried after dying in childbirth. THEREFORE he searches the birth records for that date and finds anomalous entries. THEREFORE he goes to the orphanage where the anomalous child was sent. BUT the orphanage’s data for that year is missing. THEREFORE he investigates the premises and finds a hidden toy with the date carved on it, which he has a memory of having hidden himself. BUT replicant memories are usually artificial, so it might be an implant. THEREFORE he meets with the woman who designs artificial memories. BUT she says the memory is real. THEREFORE he concludes he is the missing child. And so on.

The things Joe does in one event are causal to the events that follow; had he done something different, the story would’ve gone someplace else. The plot bends around the actions he takes, which means this is, in part, his story. That makes him a subject.

Joi has her own sequence of events that has to do with her arc as a character, but, by and large, they do not affect the overall plot. She is there as a barometer of Joe’s feelings, and to say out loud what he is thinking. The one pairing of therefore and but she can lay claim to is, she invites Mariette into the apartment. THEREFORE Mariette plants the tracker on Joe. Later, Joe is left to die in Las Vegas, BUT the replicant freedom force saves him by following the signal. It is the only time where, had Joi done something different, it would change the shape of the narrative, and it’s an accident; she dies not knowing she’s done it. The plot acts on her without her acting on it. She is part of the story, but it belongs to someone else. That makes her an object.

All stories have - and need - subjects and objects. But the tendency for subjects to be men, with women serving in largely reactive or thematic roles, is a thing to be questioned. And the tendency for these women to be young, sexy, and sometimes naked often bridges the gap from object to objectified. In truth, of all the central characters, you could most easily write Joi out of the script without seriously changing the story.

But that would be a far inferior movie, because Blade Runner 2049 is less plot-driven than driven by ideas, and Joi is everything the film is about.

Beyond being a narrative or sexual object, Joi is a literal object. The biggest decision she makes is to accompany Joe on his journey, staying by her man’s side and keeping him safe despite the risk because she loves him. And, yes, her love exists solely because it makes a few dollars for someone neither will ever meet, and they both know this, but that makes it no less real. She dies for that love, stamped out in an act of petty cruelty, and, in dying, encapsulates the replicant uprising’s philosophy before it’s even uttered: “Dying for the right cause. It’s the most human thing we can do.”

This is everything the film has to say about living in a world that gives you few options. The only real agency she ever had is when and how she would die, and on whose terms.

That may seem like a lot of symbolic heft to put on a character who is, no matter how to slice it, yet another powerless woman whose tragic death makes a man’s story more interesting. And I’m with you in that. Given the preponderance of women in this movie with nothing to do except die dramatically to underline a sentence, and the Blade Runner franchise’s already dubious notions of consent and female agency, I can’t argue that Joi is a brilliant subversion who escapes the baggage of her tropes.

But I still feel this… ambivalence. Conventional wisdom is that objects can be likable, admirable, but not relatable. They are viewed from without. Real empathy is reserved for characters with agency. And, since agency has, historically, been so unevenly distributed between genders, there is this reflex to treat it as an absolute good, to see a female character who lacks agency as prima facie bad writing.

But… as an elder millennial with no money in a broken democracy with a pitiless economy on a dying rock in space, I feel agency is in short supply. And I know there are lots of people in this world with far less than I have, and I hate to think that makes us all unfit to be protagonists. I am so rarely the thing that acts rather than the thing that is acted on. Joi speaks to me more than anyone else in the movie.

Characters who direct the stories of their lives make for great wish fulfillment, but sometimes I think it makes them less relatable.

I don’t know if that makes the screenwriters’ treatment of Joi defensible. But it is, perhaps, revealing? Maybe it’s worth questioning why agency should be the gold standard for relatability. Because, if we can’t relate to characters with little control over their lives, how could we ever tell stories about capitalism?

[magioftheseas]

What’s your opinion on each of the sdr2 boys? you don’t have to answer but I’d like to hear it so if ya want...

Well, since you posted how you feel about the SDR2 girls’ writing, how would you rank the SDR2 boys’ writing?

Oh man, one of these asks is so old but you’ll forgive me, right?

So, I’ll do both of these!!! The ranking btw is for the writing not personal feelings which I hope comes across because even if a guy’s at the bottom, that definitely doesn’t make him the worst boy!!! I swear! I SWEAR!!!!!!

Good Tier

Kuzuryuu - Definitely the most solid with development and everything. Wish it wasn’t piggybacking off of fridging Peko (and his sister), but ngl I’m always kind of a sucker of the shitty tough guy learning to mellow the fuck out, and I like Kuzuryuu also being like...probably the most mature of the characters, which is sad but also funny. (Overall opinion is that he’s good! Very good! Definitely worthy of Best Boy title if he’s your type!)

Komaeda - My boyyyyyy. Super intricate and interesting with a worldview that’s both simplistic and complex. I love him so, so much. And his attraction to Hinata is humanizing! Love that! Unfortunately, he’s still super demonized and having that happen to your character who is explicitly mentally ill is super uncool. Also, while I do like how and why he decided to die, I don’t feel like that death was worth him getting cut out and used as a prop for Nanami. If he had been kept alive, it would’ve been way better and less urghhhhhh. Or we could’ve, should’ve had more introspection as a result of the impact his character had, similar to what I wished for with Mikan. But, nah. Fuck changing your view as the result of being challenged, I guess. (Overall opinion is that I would die for him.)

Kamukura - Is being included because yes. He only appears briefly, but what’s there is just so interesting and good! He’s an empty person who is only driven by spite and revenge against those who wronged him, and yet it’s also implied that deep down, he doesn’t want to die. It’s so sad! But intriguing! His motivations are clarified in dr0 (such as the fact that he was framed by Junko for the murders of the student council, but also with the added implied bit that even HPA was prepared to kill him in order to cover their ass), but even so, it’s so deeply tragic that Kamukura was made for the sake of ego (both Hinata’s ego and the ego of HPA), and he found himself getting used which lead to him willing risk his existence to take down everything in one fell swoop despite that not being a guarantee. Wahhhh. (Overall opinion is that it sure is a shame WE DON’T SEE HIM EVER AGAIN, not counting TDP.)

Could’ve Been Okay But URGH Tier

Hinata - My other boy. He sure is the other boy. In all seriousness, Hinata *is* probably my personal fave of the protagonists even if I think the Naegis are better written. I love his conflict of having such a severe superiority complex that he’s willing to throw out everything about himself in order to live up to it. I love how his desperate need to prove himself is, like, to himself. He’s so self-centered in such interesting ways. Unfortunately Nanami is his prop and is given the emotional brunt of forcing his development, which sucks. (Overall opinion is that he’s definitely Kodaka’s self-insert but it’s free real estate when writing fics so he’s MY SELF-INSERT NOW.)

Twogami - THE BEST ENBY. Twogami was such a good character with several layers of tragedy and tbh they’re a major reason why it’s great that no one actually dies in sdr2 besides Nanami. There’s something about not having any identity to call your own so you try to be someone important but like...it’s painfully obvious you aren’t that person because you have strong morals and a good heart which powerful people often don’t have due to detachment and corruption. It’s something I can relate to. And as a character, that they gave their life to protect Komaeda was so heartbreaking. It’s such a good thing Twogami isn’t actually dead! Sadly though we do have issues with the writing because fat character obsessed with food, haha, but... I mean Twogami’s the only one like that in dr and Owari’s the same way for the same reason so I guess it’s not the worst...still iffy though. (Overall opinion is that they’re good! However due to being the first victim, they’re not given a LOT of complexity and what complexity they have doesn’t hold a candle to bby girl Sayaka Maizono but I mean they’re still a good character for what’s there.)

Just URGH Tier

Tanaka - Lmao, unpopular opinion alert but I just don’t think he’s very good! For one thing, he’s kinda...barely there for the longest time. He’s even the only character who has zero speaking lines in the first scene with the entire class. There are at least a few scenes where he contributes very little to the conversation. In general, he has little to offer until about Chapter 4, in which he makes up lies about how totally important he thinks survival is when that wasn’t really a major concern of his before and I’m PRETTY SURE he stole that from Nidai anyway. Super annoying but like, hey. At least that romantic subplot was okay. And, sure, if you like this character type, you could do worse. You could also do better. (Overall opinion is that I like his hamsters but that’s about it.)

Teruteru - He’s absolutely the most loathsome fucker that deserves more shit kicked out of him than any amount of sympathy, bUT... This is about writing, not about likability, and like, he’s written...okay. For one thing, his creepiness isn’t excused nor elaborated on, thank fucking god. But as for what’s actually there, it’s at least something. He’s got actual character traits that could potentially make him interesting, such as his shame about his background despite clearly holding a lot of love for it. Like, that’s a good internal conflict to have. If that was all there was, I’d be pretty partial towards him, especially with his design being very cute. Alas.................... (Overall opinion is that Kamishiro’s better.)

Souda - The comic relief for dgrp tends to be mean-spirited and of the guys, Souda is more comic relief than character so he tends to be a fucking asshole and a creep. It’s a shame because his backstory’s sympathetic but the dude has like, no character arc. He’s just...lucky in that he wasn’t killed. He also kind of forces himself into the social situations, namely with Hinata and Sonia which isn’t really cute when Souda doesn’t treat either of them that well. If you like his character type, eh... You can do much, MUCH better when it comes to bro-y kinda abrasive best dude friends. Again, you can do worse, but those are usually romantic comedies not like...whatever dgrp is. I don’t think I’d say that I hate him though. He’s just frustrating. (Overall opinion is that I think Yosuke Hanamura is more what this character should’ve been like.)

Nidai - I do adore Nidai but it’s so obvious that the writing doesn’t give a shit about him. It’s pretty painful. He’s inconsistently portrayed too, because sometimes he’s a compassionate and surprisingly perceptive guy who encourages others to push past their potential. Other times he’s a bumbling oaf who barely considers others because it’s more comedic. Any depth he could’ve had is often just relegated to shit jokes, figuratively and literally. Even his FTEs are painfully repetitive. Sucks, man. (Overall opinion is...me just sobbing.)

[smokeybrand]

I Am No Jedi

With season two of Mando over and the entire series in the can, for now, i was still on a pretty high Star Wars kick. Since i have Disney+, and time before WandaVision starts, i figure I'd ride this wave right into another Star Wars show i didn’t have the opportunity to actually get into deep; Star Wars: Rebels. Now, i have REALLY mixed feeling about this show. It’s an odd watch for me because of the conflict between the parts that are clone wars-y and the original content being presented. I kind of hate it when Ahsoka, Vader, Maul, or Thrawn aren’t onscreen but, at the same time, there are some really standout episodes. The Honorable Ones and The Forgotten Droid immediately come to mind. Unlike Clone Wars, however, which is a whole ass masterpiece of storytelling and character development, Rebels feels incredibly flaccid, overall. Still, i did like some things therein. Others, not so much...

The Things I liked

This show is gorgeous, man. The character models are lovely, this soundtrack is one of the best in the entire franchise, and the animation is head-and-shoulders above the first last season of Clone Wars. By that i mean season six. This thing ain’t got sh*t on season seven. Not even a little bit. Even so, this how is f*cking stunning to see. Everything about this aesthetic is just chef kiss levels of kino, as the kids would say.

All things Ahsoka. Look, its no secret i adore Ms. Tano but she really comes into her own with Rebels. You get to see that wisdom she gleaned during the Clone Wars on full display, even if she isn’t a proper Jedi anymore. Watching her reunite with Rex was wonderful but watching her fight Vader? That was hard. That was really hard. That episode, Twilight of the Apprentice, is easily some of the finest Disney Star Wars produced to date. It’s up there with Mando and the seventh season of the Clone Wars, for sure, and is the best episode of Rebels, itself, hands down.

Vader.

Maul in Rebels was exceptional. I enjoyed his turn in Clone Wars, of course, but his relationship with Ezra and his growth over the course of this series was exquisite. I was stunned by how much i liked Maul because, admittedly, i didn’t see the allure. I came to Clone Wars late so watching Maul blossom was a surprise. Seeing that continued evolution through Rebels was a real treat. That last duel with Obi-Wan? F*cking tragic. Beautifully tragic.

The Inquisitors. I like the whole concept of the Inquisitors but, specifically, The Grand Inquisitor and the Seventh Sister are decidedly the superior of the lot. I really enjoyed Grand and felt like his character was a little short-changed but Seventh Sister came along and picked up that slack only a few episodes later. Thanks to Rebels, i got other amazing characters like Second Sister in Jedi Fallen Order, The High Inquisitors in

F*cking Thrawn, man. I knew this dude was the dude from the Thrawn trilogy sequel books and never expected him to actually be canonized. Seeing my favorite blue sociopath show up in season four was a real gas, giving him proper credence as a threat going forward in the canon Disney mythos. The revelation that Ahsoka’s whole mission in her Mando appearance, was just to find a lead on this dude, was one of the biggest geek-outs i ever had for Disney Star Wars and it was Rebels that set all of it up.

Speaking of canonization, Rebels mad Darth Bane a thing and i will forever be grateful of that fact. Darth Bane is a huge deal in the canon and Filoni sneaking his legitimacy into the new lore, right under Kathleen Kennedy’s hating ass sabotage, was genius. I heard that he wanted to do the same for Darth Nihilus, Darth Traya, and Darth Scion, but that script was rejected. I imagine Darth Kennedy didn’t care for the Bane slip and put the kibosh on all other lore.

I actually like a lot of the additional lore. The Bendu, those temples, the mega-weapon on Malachor, The Veil; All of it enriches and expands upon the new canon. It gives it more life, more potential. and i love potential in storytelling. Makes for a ton of different, wonderful, possibilities.

Look, i just really like the Bendu. That motherf*cker is hilarious.

I really did enjoy Hera and Sabine. Those two ladies were a delight. I’ glad they were added t the lore because, particularly Sabine, there is a wealth of potential for them going forward. Hell, we’ve already seen the return of Hera in Star Wars: Squadrons and, with Mando going full anthology, i would be hard pressed not to think that Sabine will have her turn as the titular Mandalorian in a few seasons.

Not going to lie, seeing Zeb in this show was pretty dope. As a Star Wars geek, i knew that the Lasat were basically prototype Wookies that were cast aside. It’s dope seeing that design getting a second wind onscreen and a prominent role in the main cast. Plus, i mean, Zeb is actually a pretty chill character, himself.

The Things I didn’t

What the f*ck are these lightsabers, man? They're supposed to reflect the original concept of the weapons from one of the first Star Wars draft scripts, which is cool in a geek sense, but corny as sh*t in practice. These things look anemic, as f*ck, man.

It’s ridiculous to me that the crew of the Ghost are so goddamn pivotal to the fledgling Rebellion. These assholes cannot be this important, even with all of the plot armor. Like, seriously, I'm supposed to believe that they were the ones who retrieved the B-Wing, founded the first Rebel base, and stole Phoenix Nest from the Empire? Word?

There no stakes to this show. Like, i get that our principals had a lot of plot armor in Clone Wars, i never once felt like Ahsoka, Kenobi, or Anakin were ever in real danger, but there were certain episodes where i thought, for sure, their characters would be totally crippled somehow. Not with Rebels. I don’t expect any of these motherf*ckers to have even a semblance of lasting bruises. Kanan literally dies and nothing of importance was lost. Like, i know this is Ezra’s show but goddamn.

Speaking of Ezra, i hate this kid. I don’t know if that’s by design, like Filoni did with Ahsoka in the first few seasons of Clone Wars, but i grew to love her. She’s literally my second favorite character in the entire mythos, after Vader. Ezra did not grow on me. At all. I hate that so many lore altering events surrounded this dipsh*t. Kid ain’t even all that powerful in the force. I’m pretty certain that Ahsoka is stronger than Ezra is but he gets to be the one to “discover” the Veil of the Force. Like, bro, for real? You telling me Anakin, Yoda, or even f*cking Luke missed out on this sh*t? Word?

This show feels a lot like Avatar The Last Air Bender but worse. I had a whole ass emotional connection to the characters in that show. It broke my heart to see Azula having that meltdown. I did feel that same agony in Rebels, but it was for Ahsoka. When Vader looked up and you heard Anakin’s voice through the filter? “Ahsoka.” F*ck, that broke me. It was like watching Spider-Man getting dusted in Infinity War. I never felt that way about any of the ghost crew. Never. Not when Kanan died. Not when Ezra disappeared. Never.

The best parts of this show, of the actual, Rebels, canon, is either leftovers from Clone Wars or Legends content. Bane, Thrawn, Ahsoka, Rex, Obi-Wan, Yoda, Vader, the Emperor, even f*cking Hondo; All characters that existed before Rebels. Outside of the Inquisitors, Rebels added nothing of worth to the canon. It’s effectively a non-show. I mean, The Veil might be a thing eventually. We’ll see. That motherf*cker is a whole ass retconning mcguffin if I've ever seen one.

It’s weird to say, but nothing about this show feels of consequence. I know, for a fact, there are certain aspects Rebels added to the lore that will be vital to the overall canon but it doesn’t feel like that, you know? It feels like this was a detour, a frolic of, like, three or four episodes but holds no bearing to the grander scheme playing out. Sh*t’s ridiculous because Clone Wars felt like a whole ass problem, Rogue One gave us a legit catharsis, and Mando outdid everything Disney ever made while setting up an entire new age. F*ck, man, even the sequel trilogy gave us Kylo Ren. Rebels feels like Star Wars: The Filler Show and i kind of hate it.

[ayankun]

Agents of SHIELD Season 1 Rewatch Update

Ok so I’m having a difficult time remembering what it was that made me hate this show so much (aside from the unforgivable Minecraft reference) and stop watching in Season 1.

Just got through ep 14 and holy cow, I’m honestly not sure whether the storylines for seasons 2, 3, and 4 were planned this far in advance, but if they were then these folks did such an overwhelmingly good job of keeping their eye on the ball.

Best I can figure, I’m having a good time on this attempt thanks to prequel-goggles.  I already know where this story is going, who these people will become and what’s going to make them into what they will be, and I can appreciate this older storyline in light of the circumstances it precedes -- rather than for what it is without that context. 

(It certainly helps that some of the dumber stuff is already starting to be replaced by the better stuff, like it’s ep 15 and the “night-night gun” was just replaced by the much more palatable “icer,” and they haven’t tried to call the individual dwarves by name for ages now)

Also there’s some pretty good cinematography, the graphics are really respectable, watching this found family slowly realize how much they love each other is sooo charming, and the affectations required of a MCU-spin-off-sci-fi-spy-show are really well balanced with the character drama which is its true heart.

I know ep 1x08 (”The Well”) is six and a half years old so maybe spoiler warnings are not necessarily required but here we go

Remember when Thor 2 came out and then this show had to earn its stripes as co-existing in the MCU so they had to address the fact that aliens ripped up London and the whole world knows about it?

Not being able to afford the likes of Chris Hemsworth was something they obviously had to work around, and plopping in that rando dweeby Asgardian as a twist was definitely one way to do it. 

But the real showstopper is that the through-line of the episode is the examination of the similarities and differences of Ward and May, especially once they both come in contact with the Asgardian rage-stick.

Seeing Ward nearly incapacitated by his traumatic childhood memories serves two important purposes.  First, it makes some good strides towards humanizing the man, who until now has been that hot-and-cocky kind of character that just expects to appeal to an audience but hasn’t yet earned any appeal whatsoever.  By now, we’ve had a reference to his toxic dynamic with his older/younger brothers, and seeing him reliving his experience with the well suddenly opens him up and gives some dimension to that tall-dark-handsome cardboard cutout.

Second, those experiences are a really good twist!!  When it’s revealed that he’s not remembering being tortured in a well by his brother, he’s remembering allowing his brother to torture his other brother down a well and not having the guts to do anything about it.  It’s a good one-two punch because you weren’t expecting to pity the guy, and now that you’ve spent twenty minutes pitying him for being victimized, you get to grapple with the much more complex emotion of the kid!Ward not knowing how to get out of this lose-lose situation and understanding that his current character must be in some way informed by this regret and guilt.

THIRD, after seeing Ward go through all this and barely hold it together, we get to see how May handles this level of relive-your-worst-trauma-and-incinerate-yourself-with-unbridled-rage when she has to pick up the rage-stick and .... instead of it leaving her on the ground like it’s just done to Ward, she somehow experiences 0.00000% change in personality or capability WhatSoEver.

She not only isn’t affected, she summons all the broken pieces of rage-stick and effortlessly wields the fully formed berzerker staff to defeat the rest of the baddies single-handed.  It says so much about her character, about the depths of the trauma that sent her to the place we met her in in the pilot.  We still don’t know what happened, but this her “my secret is I’m always angry” moment, and it’s a  level of anger has been repeatedly and thoroughly cataloged throughout the episode so far.

It also gives these fools something to bond over.  And while I’m seriously disinterested in their weird little Thing that didn’t go anywhere and didn’t really impact much, it was a nice way to avoid progress in the “Skye’s falling for her SO” storyline that I don’t care for either.

But Skye makes her move in this episode!  She and Ward dance around the possibility that maybe they’re into each other and they could possibly move from antagonistic strangers to folks who are a little into each other.  But he does the gentle thing and turns her down! (without closing the door entirely, I must add)  And then he wanders off on his own and ... May’s wandering off on her own ... and they share some micro expressions and then, seriously you guys this sequence is so tasteful and understated, just look:

Ward leaves Skye at the bar with a parting “I’m beat, another time, maybe,” and off her wistful look we cut directly to this chiaroscuro hallway.

Ward enters the frame, starts unlocking his hotel room. He's just another monochrome shape in this monochrome place.

But then there’s May entering the shot at the far end of the hallway, and her motion and his turning to look at her frames her monochrome shape in this nice little white triangle between him and her door.

And there’s a tasty little rack focus that pulls the instant she passes in front of the door, making sure our attention is on her and the little white label of her bottle that really pops in the sea of black.

By this point in time, we’ve been shown, graphically, intimately, a dark shadow in his past, and we’ve been shown the physical and emotional toll its taken on him (an insight provided by the magic alien macguffin, btw).  We haven’t been told anything, we experienced his experiences with him via the power of cinema.  Her specific trauma is still a mystery at this point, but we’ve been given enough information to understand and appreciate its effects on her character.  So not only can we sympathize with Ward now, we can sympathize with his empathy for May in this moment.  

She catches him looking.

I mentioned micro expressions and screenshots do not do these performances justice.  How does one catch in a single frame the millisecond that an eyebrow ticks in asking a silent question?

Typical for her, May’s answer is also communicated through body language.

From that canted, inviting look, we pan down as she unlocks her door and enters.  She passes through the frame and disappears inside, after giving us a reminder that her plans are to apply alcohol to her issues.  (Remember that Ward turned down Skye’s invitation at a bar of all places)

Oh, and what has our framing left us to contemplate?  Is that a bed I see in there?  (Remember that Ward turned down Skye’s invitation)  Let me point out that this shot of just the bed after May walks by is on screen by itself for maybe a fraction of a second.  Just a suggestion of a thing, really.

Ward contemplates.

I love returning to this shot because it’s literally the same set up, and my instant reaction is that it’s another insert, a POV shot, and I fully expect to return to the single shot on Ward to discover his decision the second he makes it.

INSTEAD.  Ward walks immediately into THIS FRAME, too, black-shape-on-white-shape in the same way May was introduced to this scene.  And we stay here as he closes the door behind him ...

Letting us know everything we need to know without a single word needing to be spoken.

Another fraction of a frame dwelling on that shot and then immediately fade to black.  Credits.  Show’s over, folks.

And not that there’s any particular meaning in it, but they were super careful to minimize what colors were allowed to appear in this sequence?  Like there’s a particular sort of green in that weird armchair, which sort of matches the green-glass of her bottle.  And there’s the red of the fire alarm fixtures which more or less matches the red of his, y’know, fresh facial wounds.  EVERYTHING else (other than, I guess, their skin tones) falls somewhere along the white-black spectrum.  NICE.  BEAUTIFUL.  I LIKE IT A LOT.

And the Netflix synopsis for this episode is “In the aftermath of the events chronicled in the feature film Thor: the Dark World, Coulson and the S.H.I.E.L.D. team try to pick up the pieces.”  1) I’m realizing that they literally go around picking up pieces of the rage-stick and that’s hilarious but mostly I mean to say 2) this MCU-tie-in episode could have met the brief being as vapid and non-impactful as that blurb makes it sound.  But it took the opportunity to open up its characters for us to see their gooey insides, and hell they picked two of the best characters to dig into for this one, considering Ward’s tragic backstory plays as both a misdirect and actual inciting incident for his betrayal of SHIELD, and May’s tragic backstory feeds a couple of B-plots this season as well as being the major catalyst for a lot what happens in season FOUR.  SEASON FOUR, PEOPLE.  THE SEEDS ARE WAY BACK HERE IN SEASON ONE.

REMEMBER HOW THESE CHARACTERS WERE INTRODUCED THOUGH??  I DO, I JUST WATCHED THE PILOT LIKE YESTERDAY.  WE MEET WARD FULLY ENSCONCED IN HIS GUISE OF SHIELD BADASS SUPERSTAR; HE IS LITERALLY ASKED TO EXPLAIN WHAT SHIELD MEANS TO HIM, AND WE GET TO HEAR THE FIRST OF HIS MANY LIES.  WE MEET MAY IN HER OWN PERSONALLY-DESIGNED WHITE-COLLAR HELL, TURNING COULSON’S OFFER DOWN THE SECOND SHE HEARS HIS VOICE BECAUSE SHE’D RATHER STAPLE DOCUMENTS FOR ETERNITY THAN BE OUT IN THE FIELD WHERE SHE CAN MAKE ANOTHER MISTAKE LIKE THE ONE SHE CAN’T FORGIVE HERSELF FOR.

I’ve said it before and I’ll say it again.  This show knows how to weave a character-driven story, and it’s done it for six seasons straight, juggling constantly evolving -- grounded, nuanced, impactful -- character arcs with the external factors (Thor: The Dark World, for one) that force certain narrative decisions.

(until they decide to ignore those factors altogether, lol, I’m looking at you, season 5, you wacky maverick you)

[legobiwan]

So i was just daydreaming of SW and fics & i was imagining two characters on opposites sides of light and dark both trying to turn each other bc they think they are right(don’t they all?). But i feel like sidious and maul and plenty of sith knew that they weren’t necessarily the ‘good’ guys, no matter their reason for why they ended up on the dark side. I think sidious knew he wasn’t a good person & was well aware of the ‘bad’ nature of the darkside and how it can corrupt a person entirely 1/

I think dooku was as well even though he thought he was doing the right thing & making change. Even Anakin knew in his own twisted mindset that despite why he turned, he wasn’t on the side of the good guys no matter their reason for why they ended up on the dark side.I think sidious knew he wasn’t a good person&was well aware of the ‘bad’ nature of the darkside and how it can corrupt a person entirely. I think dooku was as well even though he thought he was doing the right thing&making change.2/

But how would you convince someone that turned bc they thought they could keep it controlled. Revan himself turned thinking he could prevent the darkside from corrupting him entirely&we see how that turned out. What about people who just genuinely think that they are more free (they aren’t) on the darkside and just want to BE on the darkside and think that it’s not inherently bad. Bc some sith fics make it sound not that bad but we know that it actually really is very bad by nature ¾

I guess my question is how does someone who thinks they can have everything they want and not loose themselves, who is ruled by the dark side to the point of sith eyes, become convinced that going that far isn’t actually the right path to be on? 4/4 Sorry this is so long

Wow, anon, this is…a complicated question. (And off-topic, but daydreaming about SW fics totally got me through some horrible jobs a few years ago. Star Wars daydreaming ftw.)

For me, it comes down to what your definition of “light” (read, good) is. And I think either side, light or dark, taken too far to one extreme ends up wrapping back to the other, a kind of ouroboros. Too much light, as we saw with the Jedi, can lead to dark consequences. Too much dark, in a weird way, will lead to revolt, to a balancing. 

It’s thermodynamics, taken to a philosophical extent, where your variables seek equilibrium but there is only so much energy to share between them, as it cannot be created nor destroyed. 

But let’s extricate ourselves from such tangled webs, shall we, and take this analysis character by character. 

Sidious: Sidious is an unrepentant, manipulative bastard. I mean, the absolute worst, the whole shebang. I doubt there would be anyone who would have had the ability to pull him into the “Light,” just the ability to thwart his plans. Evil genius, psychopath, bereft of empathy, etc. Let’s just say Rey’s existence, at least from the first generation, was likely not an act of love. 

Dooku: Oh Dooku. My favorite bad guy is a lot more complicated. His motivations were idealistic and to some degree, justified. The Republic and the Jedi were failing certain underrepresented systems, the Republic bloated on corruption and the Jedi more and more backing themselves into a protective corner until they had no room left to move. His execution of the whole thing…well, that’s where his hubris (and nihilism) led him astray. And I still contend we see this darkening of Dooku between AotC and RotS, especially in TCW. The dark side won in Dooku, pulled him under its tide so perhaps by the time of RotS he just wasn’t able to see - or admit - Sidious’s plans for him. 

Now, would Dooku have been redeemed? Yes, but only under circumstances and I would say he would less be redeemed than returned to grey status. 

But what would possibly convince our resident iconoclast to renounce some of his ways? 

Or more, who?

Qui-gon or Obi-wan. Or both. Lineage is so important to Dooku, a man who felt the loss of his family, who felt he was alone in the universe, who, unlike Anakin, went out of his way to avoid close connections, to relieve everything of his past except his title and all the expectations that came with it. I mean, imagine that. You are raised a Jedi, taught to believe attachment is, if not bad, at least problematic. And then you leave that religious order to return to your homeworld where you inherit a title and presumably a million problems and identities and histories that come with said title. And Dooku knows none of these people but to rule them, but he does know the ones he has raised and the ones who they raised. Which leads me to believe that an alive Qui-gon (who, let’s face it, wouldn’t have been 100% light side) and/or a more convinced Obi-wan (who should have listened to Dooku on Geonosis but that is a whole other discussion because that was a Hail Mary by Dooku and the more I think about it, the more I believe it was a ballsy-as-ass move on his part) might have convinced him to realign himself.

Anakin: Ohhhh, Anakin. Anakin, who fell because he felt he had to, in order to save everyone he loved. Anakin, who was burdened with false expectation after a traumatic childhood. Anakin, who made so many bad choices and it’s both his fault and not his fault, a tragic combination of circumstance and proclivity. The thing is, we know Anakin is torn between the light and the dark, even after he turns. Anakin as Vader is kind of like the person who says, “Oh I ate 2 cookies, might as well eat the whole bag because nothing matters.” (Side note, I am a total supporter of eating the whole bag of cookies if that is the heart’s truest desire. Speaking as someone who has downed many bags of cookies in their lifetime.) Anyway, it’s the mindset that’s the problem. And Anakin does redeem himself in the end, when he finds something/someone to fight for and fight against and isn’t that so him, always fighting against something?

Look, dark side characterizations are fun. But there’s always something else behind it, and it is a big deal to abandon your principles, your ideals, your health, your everything to this festering, opaque disease that lives in your deepest gut and at times takes the controls, much to your horror (except if you are Sidious, in which case, the horrible darkness is always at the controls and that is by design). I, personally, like to explore the darker sides of these characters but also the why - what made them fall, why are they hurting, and what is the fallout of their actions?

Yes, it’s easy to hate, to fear - I mean, we see this in the real world on an everyday basis. What’s less easy is to be alone, and I mean truly alone. And I think minus extreme examples like Sidious (who, let’s admit, created clones to cheat death and kept a vast amount of servants so even he was not ever truly alone). If I might get a little existential for a moment, what I like about Jedi philosophy (and in all seriousness, I had a major breakdown about this a few years back and Jedi philosophy, weirdly enough, was a large part in saving my sanity) is that we are never alone, that we are all part of the Force, of life, of the breath and heartbeat of the universe no matter what corporeal form we take or not. The Sith see themselves as alone, but as we can observe, so many of them are motivated by connection, could possibly be spurred to change by connection in the correct circumstances. 

And by this, I don’t mean the Jedi were 100% correct. I feel like the version of the Jedi we got by TCW had been pushed to some extremes due to the Ruusan Reformation (gdi, that had better get recanonized, asap, because it is a pivotal moment and a HUGE explanation of why the Jedi ended up as they were by the time the Prequels rolled around and it makes So Much Sense), the emergence of Dooku, the war, etc.) There is something to be said about the Grey Jedi, not that they necessarily embraced light and dark - but perhaps so - but that they did not fall to one extreme or the other. And this is where I feel Qui-gon succeeded over many other of his peers, despite his myriad of other personality flaws. Possibly this was why he was able to access the Whills and pass on what he had learned, to the point of where we see Yoda in TLJ, who is a lot more philosophical about everything than he had been in life. 

So to answer your question - there is no making someone turn back to the light, as much as there is any way of forcing a sentient being to do anything. Once can only pave the way and forge relationships, and the rest is up to that person. I think a lot of our Sith friends knew they were going down a dark path but also saw no alternative and felt a need to vindicate themselves, to strike out in anger against their circumstances. I get it, I think we all have that urge sometimes. And I suppose the answer might come in having something to fight for as opposed to fight against, as ridiculous as that sounds. 

But then again, I am but a simple lego floating around the internet. :)