#It’s been a while since I’ve written from Legend’s perspective

[skyloftian-nutcase]

For the prompt event, if I’m not too late…?

Healthcare Legend and some whump? Idk exactly how that would work but if that’s not something you can work with, just regular Legend whump, if that’s okay.

Thank you very much for considering!

Gritting his teeth, Legend pushed himself to get up. His knuckles were bleeding from where he’d been desperately scrabbling for purchase as he’d fallen down the small, rocky cliffside. His hip was killing him from where he’d landed on it, and his world was still spinning a little.

That didn’t matter. He had to find the others and warn them. He had to make sure the monster horde didn’t catch them unawares as it had him.

They’d split up to do reconnaissance. Legend had originally had the option to go with Wild, but after having explored with him before, he’d declined, going alone.

It was a stupid move. He knew that. He knew that. But he’d wanted to stay on the trail while Wild was going to wander off, and instead of arguing with him, he’d let the champion and the traveler scamper away into the woods, giggling as they went.

But now they could be in danger.

It started to drizzle, the cold rain pelting against him. It felt like tiny needles digging into his skin, intensifying every ache.

Get up. You can’t let them get to the others.

If the monsters got to Hyrule and Wild, it would be a disaster. The two were powerhouses in their own right, but they were uncoordinated as a pair. Legend didn’t usually step in to lead the group, but he’d seen how strategy would quickly fall apart the instant something went wrong. Hyrule and Wild were among the worst offenders.

Legend took a step forward, grabbing his hookshot, and fired it at the vines at the top of the cliff. He had his sword at the ready as it pulled him, feeling his shoulder scream in protest at the sudden jerking motion. He’d long since learned to brace against it, but falling down that cliff seemed to have aggravated the area.

An aeralfos noticed his approach, charging towards him as he flew upward. He didn’t exactly have any maneuvering ability while his item pulled him to the top, but he managed to use his moment to drive the sword towards his enemy, slicing at its throat as it hissed and tried to claw at him.

The black blooded creature fell to the ground, injured but not defeated (if it hadn’t been cursed it would have been eliminated - this blasted shadow monster had to make everything so stupidly difficult), giving Legend a moment to catch his breath and drive his tempered blade into its chest. It twitched a little under the blade before growing still.

Legend nearly fell backwards when he removed his blade, completely off balance and dizzy. He shook his head, blinking water out of his eyes again.

It was just water, right?

He scrounged through his pouch, hoping to find a potion. Instead, he just found magic elixirs. He rolled his eyes. Typical. He’d forgotten he’d given his last potion to Four. How could he have been so careless, wandering off his own without the proper equipment?

Some veteran of the hero business I am, he grumbled as he trudged forward.

Whatever. They all had off days. He wasn’t going to let this one lead to the others getting hurt.

Legend marched ahead, sword at the ready, eyes alert for the other monsters that he hadn’t yet eliminated. They couldn’t have gotten too far.

That assumption turned to utter bewilderment as he continued to move onward. He wandered into a clearing in the forest with a burnt out husk of a building in its center. He… didn’t remember this. But he hadn’t wandered off the road, either.

When had he wandered off the road? He’d been tracking the beasts, had they come through here?

Legend shook his head a third time. Was it still raining? His face was wet.

Movement caught his attention, and he crouched down, hiding behind a half destroyed foundation. He saw a few bokoblins ahead, and he realized he’d finally caught up.

He remembered there being more monsters than he saw. He could handle three bokoblins and a few keese. And with swift work and expedient use of his varying weapons, he wiped them out quickly.

It was strange, how relieving that was. It was so relieving, in fact, that he promptly fell over.

“Ow,” he grumbled irritably, trying to push himself sit up again, noticing that his knuckles had at least scabbed over from their earlier cuts.

Again, Legend dug through his pouch, wondering if he really didn’t have a single potion to spare. This was dumb. This was so unbelievably dumb.

Groaning, he let himself collapse on the rocky ground. Fine. He’d just lay here. Whatever. The battle was over anyway.

The sky was glowing golden, like embers of a dying fire, heralding the coming night. Legend scrunched his face in annoyance at it. He’d rather just lay here and die than let anyone find him in this state, but he knew they’d start looking if he didn’t make his way back to camp.

The only problem was, he had no idea where he was. He wished desperately for a bloody map.

It was amazingly frustrating, how he could be so experienced in these journeys yet he could still find himself in such a predicament. It wasn’t like he hadn’t been doing this since he was a kid.

Thunder rumbled in the distance, and adrenaline shot through his entire body, jolting him into alertness.

His mind immediately started trying to rationalize that he was okay, despite his automatic reaction to the storm. You’re not at sea. Relax.

He was in the middle of a clearing, though. Exposed.

Legend immediately sprang to his feet, stumbling towards the trees, and promptly fell on his face as soon as he got some cover.

Okay, something was definitely wrong with his head. And his hip was still killing him.

Legend suddenly felt entirely alone. He felt so utterly alone in a place that was completely foreign. It was a disturbing feeling, and far, far too familiar.

He’d always traveled alone. He’d make friends along the way, but inevitably, he adventured by himself. And that was fine. So why did he feel…

He sighed heavily, rolling so that he was on his back, hissing as his hip protested the maneuver.

He missed Zelda.

He missed his uncle.

He missed his fellow heroes, his friends.

He was going to die here alone, wasn’t he?

He couldn’t die here. He had a mission to accomplish, and he’d never let anyone down.

But there were eight other heroes who could do the job jus as well, weren’t there?

Pff. Hmph. Do it just as well. Whether they can do it or not isn’t the point. I set out on this quest myself.

The rain started up again, heavier than before, soaking him to the bone. He shivered, and the tremors turned to outright twitches whenever lightning tore across the sky.

The noise was overwhelming and deafening, and Legend suddenly wished he was laying face down again. He closed his eyes, trying to ignore the flash of light behind his eyelids every time thunder roared.

When a warm hand touched his forehead, he nearly jumped out of his skin.

“Hey, easy! It’s just me.”

The voice was familiar, the subtlest hint of a twang, like a rabbit poking its head out of tall grass.

The Hero of Twilight.

Legend felt an insane amount of both shame and relief. Of all the others to find him, at least it was Twilight.

When he opened his eyes, he saw Warriors as well, and his cheeks immediately flushed.

Shooting to his feet, he nearly headbutted the captain by accident as he insisted, “I’m fine, I was just resting a moment.”

“Right,” Warriors drawled, completely unconvinced. “Veteran, you’re bleeding. Just sit down and let us help you out.”

“It’s okay,” Twilight assured him, ghosting a hand over his back, knowing Legend didn’t particularly care for physical contact all that much.

The veteran hero looked between the two, soaked and freezing and in pain, and he relented, easing back down to the ground with Twilight’s help.

“What happened?” Twilight asked gently while Warriors looked for a potion in his own stash.

“Monsters,” Legend replied dully, not quite wanting to admit that he’d wandered off alone. “I… didn’t want them to find the others. Or you guys. Or anybody.”

Warriors and Twilight exchanged a look, and it appeared that the captain was gearing up for some kind of speech when Twilight interrupted his attempt, putting a reassuring hand on Legend’s shoulder. “We’ve got it from here, okay?”

“They’re gone,” Legend said. “I took care of it.”

A proud smile crossed the captain’s face, and he helped Twilight sit Legend up as he held a potion. “I’m always impressed with your ability to fight. It’s definitely clear that you’re the veteran among us.”

Legend swallowed, feeling strange about the compliment coming from another Hero, especially from a knight. He felt unbelievably vulnerable and small in this storm.

Twilight pulled off his pelt, wrapping it around Legend’s shoulders, while Warriors held the potion to his face. The veteran tried to huff in protest, but it petered out of him before he could even try. Instead, he leaned more into their support, feeling the warmth of the wolf pelt, and wordlessly let Warriors help him drink the potion.

Even with its bitter taste, with the warmth of its magic flowing through his veins, he felt utterly spent. The world was no longer spinning, though, and he shriveled into himself as he was made even more aware of his pathetic state.

“Little better?” The captain asked, his tone surprisingly gentle.

“Yeah,” Legend mumbled, cheeks flushing. “Thanks.”

Twilight smiled warmly, wrapping the pelt around him a little more. “Let’s head to camp, then.”

Legend tried to protest the coddling, moved his shoulders a little to get the pelt off him, but it was so blasted warm, and…

The elder heroes took either hand, helping him stand, and though he didn’t wobble and tremble as he had been, he let them guide him along.

He was having an off day anyway. He… might as well just… let them help him.

He didn’t always have to be alone, after all.

[jacquelinemerritt]

Star Wars: Exploring the Canon - Episode I-II

Originally posted October 19th, 2019

We begin with the two most hated prequels, and a Marvel comic set between them.

This review is part of a series of pieces on the entirety of the Star Wars canon. See them all here!

Before we begin, I feel somewhat obligated to state my “credentials” related to the Star Wars universe. While I am nowhere near old enough to have seen the original trilogy during its theatrical run, I am old enough to have experienced the prequel trilogy as it was coming out, making Revenge of the Sith my first midnight premiere at the age of eleven.

I even was an avid lurker of the official Star Wars forums back in the day, and I read just about every entry posted to the fan blogs that were hosted on the official site. I also made a series of Star Wars fan films at the age of ten, all telling the story of a disgraced Jedi Knight who fell to the dark side and had to be defeated by his former master (naturally casting myself as the fallen Jedi, of course).

I say all of this not to impress you with my “nerd cred,” but to contextualize the importance of Star Wars in my development as a critic and artist. My first experience with critical thinking in any form came through the blogs and forum discussions I read that debated the merits and failings of the prequels, and it was through my love of Star Wars that I attempted to write, produce, direct, and edit my first films, learning the skills that would lead me to becoming a film editor today.

What’s more, the Star Wars films (and related shows and books I could get my hands on at the time) were an escape for me, and I fell in love with Lucas’s universe in the process, reading the many young adult novels set before The Phantom Menace, scouring the details of the Expanded Universe through the official Star Wars databank, and watching any fan film that wasn’t too vulgar, hoping to learn something from other aspiring filmmakers like me.

Image from Versus, a 2005 Star Wars fan film directed by Nicolas Santini.

My history with Star Wars and love for writing criticism brings us to the goals of this series. I have wanted to explore the entirety of the Star Wars universe ever since I was a young girl, and the creation of the new canon (and related conversion of the Expanded Universe into Legends) has given me an opportunity to do just that.

Now, we can debate the merits of wiping the canon clean of the Expanded Universe, but I believe that it was generally a good decision. We lost some gems, like the short novels that painted a brilliant picture of Obi-Wan and Qui-Gon’s relationship before The Phantom Menace, as well as the BioWare/Obsidian games, Republic Commando, and most of the history of the old Republic (many would argue the Thrawn Trilogy deserves this same consideration, though I cannot comment, as I’ve never read them), but we also ditched a considerable amount of junk, like the multiple resurrections of Emperor Palpatine, the multiple resurrections of Boba Fett, the multiple resurrections of Vader’s secret apprentice…noticing a trend?

My point being, the amount of material any writer stepping into the Star Wars universe would have had to work around (especially considering the complicated and contradictory nature of most of these works) is about as valid a reason as any to wipe the slate clean and continue forward with only the films, The Clone Wars, and future works remaining as part of the canon, a canon that I plan on going through in its current entirety in chronological order.

I will offer my thoughts, critiques, and perspective along the way, getting rather detailed at time (with no restraint on spoilers). I, however, do not plan on lingering too long on any topic that has already been written extensively about, like the failings or “fan-nitpicks” of the prequels, or the numerously extolled virtues of the original trilogy. Rather, as usual, I intend to provide an interesting, new, and ideally positive perspective on this media franchise that I adore.

And on that note, let’s jump right into…

Star Wars: Episode I – The Phantom Menace

The biggest failing of The Phantom Menace is its story structure, and that’s a shame, because structured differently, I believe The Phantom Menace could have been a strong film that effectively introduced us to the Star Wars universe. Lucas’s main failure here is not recognizing where the strongest part of his story lies: the story of Anakin winning his freedom on Tatooine.

While our visit to Tatooine is a detour from the main plot itself, every moment we spend on this desert planet simply works, even if the acting and characterizations aren’t particularly strong. Anakin is a kind and compassionate kid willing to do anything to help these strangers he barely knows, and through his skill and a little luck, he manages to win them the ability to get off planet, a gift that Qui-Gon returns by granting Anakin his freedom and taking him to become a Jedi Knight.

The strength of the Tatooine subplot brings to light the other weaknesses of the film, unfortunately, and the biggest weakness is that our perspective through most of the film is Qui-Gon Jinn, a boring, nearly invincible force for unadulterated good. In fact, this lack of character imperfections is common to almost all the Jedi in the prequels, as is their effective invincibility, but it’s more detrimental here because Qui-Gon is meant to be held up as the best of the Jedi.

Obi-Wan implies late in the film that Qui-Gon is actually somewhat of a rebel within the Jedi Order, failing to follow the specifics of the Jedi Code when it goes against his instincts and knowledge of the Force, and this glimpse into who Lucas wanted Qui-Gon to be makes his uninteresting nature all the more disappointing.1

Not everything outside of Tatooine is disappointing though. The lightsaber duel between Darth Maul, Obi-Wan, and Qui-Gon is particularly excellent, mostly due to the prowess of expert stuntman Ray Park, who brings a ferocity to this double-bladed lightsaber wielding Dathomirian that is only ever matched by the ferocity of the Chosen One after his fall. His skill as a stuntman translates directly into the text, too, as Darth Maul easily dispatches Qui-Gon when facing him alone, and is only beaten by Obi-Wan (who does give him a bit of a fight) when he assumes victory and underestimates his cornered opponent.

This duel is also jam packed with emotion, too; Qui-Gon is facing off against the warrior who ambushed him that he only barely escaped from (alright, I’m stretching the text a bit, you caught me, but can you blame me when Lucas suddenly shifts from Qui-Gon being invincible to him being clearly and unequivocally outmatched?), and Obi-Wan charges in blindly after witnessing the death of his master, attempting to match Maul’s ferocity with that of his own.

I also would be remiss not to bring up the unfortunate racial coding of characters in this film, even though it has been discussed by other more thoroughly already. The Toydarians, and Watto, specifically, stick out as being coded Jewish, via a long nose and mannerisms, and the only Toydarian we meet in this film is a greedy slaver who surrounds himself with literal filth.

The Nemoidians and Gungans are also clearly racially coded as Asian and Black Caribbean, respectively, and are both portrayed somewhat negatively (though neither as poorly as the Toydarians). This negative racial coding is a shame, not just because it reinforces negative stereotypes, but because it also distracts from some genuinely interesting characters.

Watto, in particular, is a great character in his own right, as he is a greedy slaver who is also rather compassionate. He treats Anakin fairly well, encourages him to pursue his interests (podracing and droid construction, which I can already hear you questioning, but I will answer your question with another: how else could Anakin have gotten the parts to build C-3PO?), and shows genuine pride in his successes. In fact, Watto’s only failures in this film are being too greedy to allow Shmi and Anakin to both be freed by Qui-Gon, and not believing in Anakin enough, the second of which is actually fairly reasonable given Anakin’s podracing record.

Watto’s arc, where his greed and lack of faith costs him greatly, also exemplifies Lucas’ themes for the prequel trilogy. Watto’s greed parallels the greed of the Trade Federation, snatching power at the behest of a Sith Lord because they…okay, the Trade Federation’s motive here isn’t ever made clear, but given that they are otherwise representative of large corporations, it’s pretty reasonable to assume that they did this to make a profit. Watto’s lack of faith in Anakin (and the power of the Force, by proxy) parallels the Jedi’s lack of faith in him too, as they refuse to train him until it becomes Qui-Gon’s dying wish that Anakin be trained.

This theme of the Jedi being imperfect and not following the true will of the Force is mishandled from here on out, to say the least, but in this subplot Lucas managed to perfectly execute a thematically resonant story about greed, failure, and a lack of faith. If that isn’t a reason to appreciate The Phantom Menace (well, outside of the objectively awesome podrace), I don’t know what is.

Star Wars: Obi-Wan and Anakin

Obi-Wan and Anakin is a comic mini-series released in January 2016 that follows the titular characters as they investigate a distress signal on a frozen planet. After they crash land, they find two factions of humans at war with each other, the Open and the Closed (yes, they’re pulled straight out of a young adult dystopia novel), and they convince two people from each faction to help them investigate the distress signal together.

After one of the Open kidnaps Anakin to help rebuild some badass droid mech suits, Obi-Wan continues towards the signal and discovers that it was sent by a woman known as the Scavenger, who sends up pieces of art work from the ruins of a civilization buried under a field of toxic gas. While the Open converge on Obi-Wan and the Scavenger with their badass mechs, Anakin unites the youth of the Open in rebellion against the old people and builds a speeder that allows him to save Obi-Wan’s life in the nick of time.

Anakin then fixes the transmitter in an old ship, and Obi-Wan uses it to call for a fleet of Jedi and Senate cruisers by lying about the presence of valuable fuel, convincing a doubting Anakin to fully commit to remaining in the Jedi Order. This is interspersed with a series of flashbacks that show Anakin being befriended by Chancellor Palpatine, who is naturally responsible for making Anakin doubt the Jedi Order in the first place.

The first question you might ask about that story is if they ever explain why the Open call themselves the Open and why the Closed call themselves the Closed. But because Anakin and Obi-Wan are visiting a crappy young adult dystopia a la Divergent, that question is never answered. You can maybe argue that this is intentional, as a young adult dystopia is arguably an appropriate setting for Anakin to explore his angst about the Jedi Order, but it still falls pretty flat.

Like most young adult dystopias, the world-building details that make two eternally warring societies with names as on the nose as “Open” and “Closed” are left out. It doesn’t help that the message of the story surrounding this broken society is that needless fighting is bad, adults and tradition are dumb, art is good, and the only way to bring peace to a fundamentally broken society is for a military expansionist regime to intervene in the search for resources.

Alright, that last bit is far from the typical resolution to a young adult dystopia, and it’s actually fairly representative of the most interesting parts of the comic. See, this comic spends a good amount of time discussing the heavy bureaucracy of the Republic, and Anakin’s desire to do good outside of that broken system.

In the first issue we see Obi-Wan give him back his lightsaber and reference Anakin’s desire to leave the Jedi Order, learning in the last issue that he wants to do so because it will give him the opportunity to see the galaxy and learn more than the Jedi could ever teach him. He feels restricted by their dogma, and this is best exemplified in a scene where a group of Padawans whisper about Anakin being a slave to his emotions, causing him to lash out in anger.

Yet he quickly restrains himself after this outburst and agrees with their assertion, making it clear that his emotions aren’t restricting him: the teachings of the Jedi are. It’s only when Palpatine takes him on a tour of the lower levels of Coruscant that Anakin finally sees a way out, and the only thing that stops him is Obi-Wan showing him the power and authority that comes from being a Jedi.

Framing this result as a victory of Obi-Wan, the Republic, and the Jedi Order, is an interesting decision, given how hollow the victory really is. For one, it means that Anakin is closer to Palpatine’s corrupting influence, as Palpatine’s a sneaky dude who coerced Mace Windu into allowing him to make friends with Anakin (and would clearly use that influence to maintain that friendship against the Order’s wishes).

Secondly, we see that Anakin abandoning the Jedi Order would have meant that Obi-Wan would abandon it too, as he is committed to fulfilling the vow he made to Qui-Gon by guiding Anakin in the Force out in the big wide galaxy. The victory feels pretty bittersweet as a result, and we’re left to wonder if Anakin’s decision to remain in a corrupt system because he can do more good is the right one, lining up this comic with the thematic throughline Lucas intended for the prequels.

Star Wars: Episode II – Attack of the Clones

Within film criticism circles, Attack of the Clones tends to be derided as the worst of the prequels, and I tend to agree with that assessment. The Phantom Menace was sometimes dumb, and sometimes boring, but it took risks, and when it was going strong, damn was it going strong.

Attack of the Clones, on the other hand, is often very “meh.” Don’t get me wrong, there’s plenty that works, and the chase through Coruscant is a pretty incredible sequence, but so much of the film simply falls flat, and it’s almost all because Lucas decided that bigger, louder, and more explosive was the way to regain the credibility he lost with fans after The Phantom Menace. That decision did not pay off.

The fatal flaw of Attack of the Clones is that Lucas mistakes spectacle for tension. The Battle of Geonosis, which pits an army of faceless clones against an army of faceless droids, may be a great metaphor for a proxy war between governments (as Palpatine is leading both sides into conflict for his advantage), but it is boring as shit. It starts by throwing a hundred Jedi into an arena to face of wave after wave of droids, but while Lucas hasn’t entirely continued framing the Jedi as invincible, he hasn’t done anything to establish the droids as a significant threat in any way.

Further, during this entire sequence, none of the characters we have any reason to care about (Obi-Wan, Anakin, Padme, maybe Mace Windu) are shown to be in any type of danger at all. And when Yoda shows up with a clone battalion to rescue the Jedi that have inexplicably ended up on the losing end, any attempt at tension is thrown out the window, and we’re shown shot after shot of gratuitous violence and explosions committed by CGI people against CGI robots while the characters we care about chase the villain back to his secret hideout.

The number of fucks I couldn’t be bothered to give about this fireworks display is honestly kind of impressive, considering that events leading up to the entrance of the entire Jedi Order are among the most tense and compelling action in cinema.

Our protagonists, Padme, Anakin, and Obi-Wan, are all reunited in a coliseum, and they’re forced to face off against three unique wild animals that pose distinct threats to each of them, all using only their wits, skills, and knowledge of the force. They each use clever solutions to break their chains and conquer their attackers, earning their success within the narrative and making it rather dismaying to see them surrounded by battle droids ready to snatch their victory away. Seeing the Jedi approach and fill the stands of the coliseum to save them from this fate is rather satisfying too, making it all the more disappointing that the tension fizzles out right when this supposedly “epic” battle begins.

Thankfully what Attack of the Clones lacks in tension it makes up for with intrigue. The main plot, which follows Obi-Wan trying to track down the bounty hunter responsible for an attempt on Padme’s life, is a classic detective story, and Obi-Wan’s investigation continually raises more questions than it answers.

The bounty hunter was using a Kaminoan dart, but the Kamino system isn’t anywhere to be found in the Jedi archives. Obi-Wan’s friend, Dexter, another great minor character, is able to point Obi-Wan towards the coordinates of Kamino, but this new information only proves that the Kamino system was deleted form the Jedi Archives, which both Yoda and Obi-Wan find incredibly troubling (sidenote: Yoda teaching younglings and being incredibly good at it is simply delightful!).

When Obi-Wan finally arrives on Kamino, he is greeted and told he was expected, and he is summarily informed about a clone army ordered by a Jedi Master nearly a decade before, only now discovering the bounty hunter Jango Fett, who was the genetic template for the clone army.

After an excellent fight wherein Jango showcases his talents as a resourceful bounty hunter, Obi-Wan tracks him to the planet of Geonosis, where he discovers a factory constructed battle droids and listens in on a Separatist meeting led by Count Dooku. And yet again, when Obi-Wan is captured by Dooku’s forces and questioned by Dooku in the best scene in the entire film (and arguably, the prequels), more questions are raised as Dooku (correctly) asserts that the Republic is under the control of a dark lord of the Sith, refusing to free Obi-Wan after he denies an offer to join him and the Separatist movement.

I mentioned Jango Fett earlier, but I just want to point out how excellent his character is. Temeura Morrison does a great job imbuing the man with a dangerous essence without ever making him feel downright villainous. Lucas also gets some credit here, as his inclusion of the small moments of bonding between Jango and Boba, his cloned son, really humanize this man who kills his own partner in order to prevent her from talking.

His death at the hands of Mace Windu also serves as a fantastic origin story for Boba Fett, who is forced to watch as his father is beheaded in battle. Also, maybe you think Boba being a clone is lame, which is kinda fair if you think clones are inherently lesser than non-cloned humans, but the retroactive canonization of Boba Fett as a person of color is really damn cool, and I think that more than makes up for it.

So, that’s all I have to talk about, right?

I have to talk about the romance…?

But…

It doesn’t work.

There ya go. That’s Jacqueline Merrit’s take on the romance plot in Attack of the Clones. Hope you enjoyed this piece and have good day!

Okay, well, look, the thing is, this romance is really important to the themes of the prequel trilogy, and it not working represents a significant failure on Lucas’s part that severely bit him in the ass on the release of Revenge of the Sith. How? It’s pretty simple. Lucas wanted a major theme of these films to be the importance of love, and the genuine strength that can be found in being loved by and loving another person in return.

And Lucas hinged that thematic throughline on the forbidden romance between Anakin and Padme, which legitimately should totally work! They’re old friends reunited under tense circumstances who return to the planet of Naboo, which holds special significance for them both, and as they spend time with each other the true depths of their feelings are unlocked. This romance is structurally sound, and it should be compelling, but it’s held back by one thing, and that one thing is not the wooden acting or Anakin sending multiple red flags (just because we see them doesn’t mean Padme knows enough to catch them herself; this is young love after all). What it’s missing is a character for Anakin to fall in love with.

Now, here’s the thing: Lucas clearly intended Padme to be a character, and signs of her being an interesting person with a unique personality are present in this film and in The Phantom Menace. At the age of fourteen, she was elected Queen of Naboo, and immediately following her successful term (a term that the people wanted to amend the planet’s constitution to extend), she is elected Senator and serves in the Galactic Senate until we catch up with her at twenty-four in Attack of the Clones as her life is being threatened by an unknown assassin.

This woman has significant political pursuits, and while she’s got the skill to settle a dispute, if she can’t reach a peace that’s alright, she’ll grab a blaster pistol and shoot a droid on sight, as evidenced by having personally led the team that secured the capital of Naboo from the Trade Federation. Everything about her screams potential, but when she and Anakin are romancing one another, she doesn’t display any of the depth this kind of complex history would give her. She’s just delicate, feminine, and beautiful, and that is the only reason we are ever given by the film for Anakin’s devotion to her.

Padme’s lack of characterization also negatively affects how believable her love for Anakin is, as well. While she is shown to be gradually falling for him, slowly flirting more and more until they share a kiss they believe will be their last, she never has a chance to vocalize why it is that she’s falling for him.

Does she feel like she can mend his tortured soul? Does she believe in his fundamental goodness, in spite of the danger he exudes? Or does she love him unconditionally, accepting him for who he is because of a deep connection they share?

None of these questions are answered, and as a result, when Anakin decides that he needs to return to Tatooine to determine the fate of his mother, Padme’s decision to join him feels meaningless, when it should be a decision that clearly cements that her devotion to Anakin is equal to his devotion to her.

Instead of a romance between two characters, we are given a story about a character wooing a symbol of feminine beauty who initially rejects him outright. That is a problem on multiple levels, and it sends the very kinds of mixed messages that can lead some critics to claim that the prequels are against people loving one another, when that was clearly the furthest thing from Lucas’s mind.

The Jedi forbidding attachment, and therefore romantic love in a committed relationship, is exactly the kind of philosophy that I think any of us can see as problematic, and Lucas was attempting to use that to get us to question the actual goodness of the Jedi Order. But because the relationship between Anakin and Padme is so one sided, and because it appears to be the thing that leads Anakin down the path to the dark side (more on that later), it comes off as a condemnation of romantic love, rather than a condemnation of the forces in the universe that conspire to prevent it.

But that is jumping ahead to Revenge of the Sith, and we still have The Clone Wars, Darth Maul: Son of Dathomir, and Dark Disciple to get through before we can even begin to talk about that film. So on that note, I will be back with my second entry into this series soon, and we will discuss the success of Dave Filoni and his team of incredible writers.

Critical Eye Criticism is the work of Jacqueline Merritt, a trans woman, filmmaker, and critic. You can support her continued film criticism addiction on Patreon.

1I don’t want to turn these articles into “How I, A Person Who Assumes I Know Far More About Star Wars Than George Lucas Ever Could, Would ‘Fix’ The Prequels,” because there is more than enough of that discussion, and frankly, most of it is pretentious, boring, and misses the lofty thematic and structural goals Lucas was reaching for when he created the prequels (ex: commentary on despotism that is more relevant today than ever and Ring Theory). As a screenwriter myself though, I can’t help but think about how easy it really would have been to make this film great. All you have to do is introduce us to Anakin before Qui-Gon and Padme arrive on Tatooine. You make room for this by cutting a good bit of early scenes on Naboo (cut the pointless danger of the planet core, spend less time in Otoh Gunga, open in media res with Qui-Gon and Obi-Wan fighting off droids and trying to escape the Trade Federation ship), and you show Anakin’s experience of slavery, and his longing for freedom, turning his personal podracer into a symbol of that freedom that’s just out of his reach, something that he can only fix when Qui-Gon offers him help.

The rest of the film essentially proceeds as normal, but with more moments between Qui-Gon and Anakin bonding, with Qui-Gon representing the ideal Jedi that Anakin aspires to be someday (which clashes against his experience of the Jedi Council, who we only meet when they are testing Anakin and rejecting him from the Order). It’s a good number of changes, I’ll admit, but they’re changes that I think Lucas would have reasonably made if he’d had a good editor calling him out during the prequels, as they reinforce his themes and make his characters’ journeys stronger.

I didn’t have anywhere else to mention this, but seeing Watto homeless, destitute, and rotting in filth in Attack of the Clones is some damn poetic justice, Lucas drives home the point that greed leads to ruin with incredibly subtlelty.

[ao3-oner]

Which Longer Work Should I Embark on Next?

Hi everyone!

So now that I’ve wrapped up M.S.I. and its prequels (I do still need to write my chess theme analytical mini-essay - haven’t forgotten, just getting around to it), I’m staring down the better part of four months until I start my Worlds fic. As previously stated, in the next few weeks, I plan to drop a few one-shots, mostly G and T-rated (since I’ve written plenty of smut for rn lmao), but after that, I’ve been considering starting up another longer project for this summer. I have a couple of ideas for what that might be, since there are a few AUs I’ve been rolling around in my mind for a while now. The thing is, I’m not entirely sure which one I want to start first – ideally, I’ll get around to writing all of these eventually, but realistically who knows how long I’ll be in this fandom – so I thought I’d ask you all if you have opinions.

Naturally, at the end of the day, I’ll just write whatever I want regardless of what the result of this poll is, but for reasons of curiosity...

Brief Synopsis of Each AU Below:

BotB AU -  the least developed of the three ideas, but that sort of makes it the most exciting

This story would be told in the form of a single multi-chapter fic – Idk exactly how long but prob at least 30,000 words, might also be partial chatfic – with varying perspectives, i.e. one chapter would be told by one character, the next would be told by someone different. Set in the 2010s Philadelphia house show scene among a group of indie bands: old T1 fans are fighting with new T1 fans about whether the band can even keep its name after subbing out everyone but lead singer Sanghyuk, but no one’s complaining about their new sound. ShowMaker and the KIAs keep getting banned from venues because of dozens of noise complaints from local Karens, and are now struggling to find new gigs. Most people are pretty upset about Generation G breaking apart after power couple Jaehyuk and Siwoo split up, but goddamn did it lead to the most iconic break-up tracks of 2012. And they’re all competing for one record label at the end of the summer that might finally get them out of this piece-of-shit city.

Fantasy AU - by far the most challenging/longest of the three, so I’d need to really commit if I don’t want to abandon this partway through

This story would be a quartet of fics, one for each of my primary ships (GK, OZ, CM and RL) with the main plot being told in the GuKe fic and the other three essentially being spin-offs, specifically prequels. This kingdom/deities/magic AU has a LOT of worldbuilding, but I’d be excited to see if I could pull something of this scale off. The central focus would be on the Archer Prince Minhyung, heir to Unkillable Demon King Sanghyuk, and his encounters with a mysterious monster of legend called Keria. In other tales, we have flashbacks to Prince Heo Su of the Kingdom of Damwon as he begins teaching himself dark magics (much to the dismay of his loyal knight and chief captain Kim Geonbu) in a tragedy culminating in the kingdom’s demise, plus King Jaehyuk receives a concubine from a rival kingdom who’s maybe just a little too knowledgeable about poisons. Also, armored knight Hyunjoon might be fucking the literal God of Thunder??? More news at sundown.

Omegaverse AU - Perhaps the most appealing one to start first because it’s more developed than BotB but less ambitious than Fantasy

Also it fits well with most of what I’ve previously written because the core of it is still set in a modern-day e-sports environment. Don’t be mistaken, though: not only is this an alternate universe, but it is full-on dystopia that thoroughly explores the sociopolitical implications of the omegaverse. Y’all do realize how dark and primal this trope is, right? I mean, is it hot? Obviously – that’s why I’m down to write it – but there’s so much more depth to it, too. This story would also be told in a quartet of fics, each one approximately 10,000 words in length (there is no “central narrative” for this one; just four different explorations) with the possibility of a fifth multi-chapter fic with shifting perspectives afterward and/or maybe a drabbles collection of miscellaneous short ideas I had for this AU that don’t cleanly fit into their own fics. The start of this series will likely just be a worldbuilding doc explaining my vision of everything, then diving right in with the first fic (GumaKeria).

[bahamutgames]

RPG TIME: LEGEND OF AFTERTHOUGHTS

Game: RPG TIME: The Legend of Wright (March 10, 2022)

Console: Xbox One

Look at that! My first RPG of 2023! RPGs are always the biggest part of every year to me, naturally since it’s my favorite genre. So of course it doesn’t take long for me to sink my teeth into one at the start of the new year. And the one we have here is VERY interesting.

I actually bought this game when it launched but it just took me a really long time to finally sink my teeth into it. But I’m very happy to say I did FINALLY play it and now you can read all my thoughts on the experience! How exciting!

As always, this is not a review. This is just me throwing up my thoughts on the game now that it’s done. If you’re interested in playing the game at all, PLEASE check it out and support the devs! Please don’t expect my thoughts to be super well written and don’t expect any serious critique.

SPOILER WARNING FOR RPG TIME: THE LEGEND OF WRIGHT! DON’T READ IF YOU DON’T WANT SPOILERS!!

Opening

SO! This is a little game I’ve had my eyes on since it was revealed a good long while back. It was shown off during E3 I think at one of the Microsoft conferences? Regardless, it was a game I was SUPER excited for, an RPG with a super cute notebook aesthetic? I used to draw my own RPGs all the time as a kid!! I was stoked... And then it just completely fell off my radar.

Until it launched! Then I remembered it existed and had to pick it up asap! But like I said, it took me a good while to play it. But at the start of this year I was out in the living room and decided to finally play it since it had been sitting there for so long. And I’m glad I did cause this was actually a very interesting game.

Stuff I liked

There’s a LOT to love about this silly little game. I think right out of the gate I need to talk about the art style and whole theme around this game’s graphics and aesthetics. I ADORE how this game looks. It’s all played from a first person perspective of you playing an RPG a friend made in their notebook. And because of that the main gameplay is all cute handdrawn pencil sketches, occasionally interrupted by real life items and other fun stuff in the classroom it takes place. I LOVE how this game looks. In addition to being very charming the actual pencil sketches all look great, are cute to look at, and even the real world elements look very good and cute. Thankfully they made a good call by not showing any of the real world humans so I really think the graphics in this are basically never gonna date themselves.

As for other not gameplay things. I think it has a SUPER cute ost (again the theming around the music is ADORABLE as your friend is playing it through an MP3 player and you like, actually see the track names and they come from other made up in-universe games and sources). The writing is also very funny and charming, it’s got a lot of scenes that gave me a good chuckle. Lots of goofy as fuck and random stuff happen so if you want a game where there’s never a dull moment you really cannot go wrong here. The story is also pretty basic BUT it’s standard RPG fare which I always love. Similar to Dragon Quest where the stories are pretty standard high fantasy stuff but it’s always unique enough or something you really haven’t seen before regardless.

I think the part that stuck out to me the most and was probably the most surprising with how much I enjoyed it was the gameplay. Particularly the battles. I LOVED the combat! Like, a LOT. Basically the way it works is you have a pencil sword (the you in the game, not Wright, the guy you play as.) and you have to pick where, when, and what direction to slash across the enemies on the page with that pencil sword. It’s probably not super easy to understand if you don’t see it, but it’s a REALLY clever idea that I LOVED. You’ll have to use it to slash things with timing, hit between bars, ect ect. It’s super cool and I genuinely had a blast with the fights! I do have only 1 problem with them but we’ll get to that later.

Even outside of combat is pretty cute. Not amazing but it’s fun to wander around and see all the little details in each map (there’s TONS). The whole game is just full of loving little details sprinkled across every single page of the notebook. One of my favorite details is how the center fold in the notebook is actually something Wright will walk behind. It’s cute. This game is just so damn cute!

The ending in particular really got me, the final boss is fine but I was pretty surprised that the ending almost made me cry. It’s so good and really emotional. The kid in universe who made this game is a pro. Overall the whole experience was fantastic, there’s great visuals, great character designs, interesting gameplay, and LOTS of crap to see and do. I didn’t even do everything and I already saw stuff I missed out on. There’s special move slot machines, mini ninjas hidden on every page, a drawing minigame. There’s TONS of shit to see and do in this game.

Stuff I didn’t like

Truth be told, with a smaller and more experimental game like this, there’s not a whole lot I can really take away from it as being bad. But there are 2 points I have here that bugged me a little bit through the game.

Number one is just that the game gets a little boring part way through. I would say the airship, town sections, and dice adventure chapters are kind of a drag. Thankfully they’re very short. The game never gets so boring that I don’t want to play but it has some sections where I’m kinda like... Eh? The tank game really stands out to me as being kinda dull. But again thankfully it’s short.

No my main issue with this game is that there’s not enough combat!! I LOVE the battle system in this game! Like SO much! But every fight is a very scripted affair so there’s only a handful you really do through the whole game and you don’t really refight any enemies. This is fine, it worked perfectly fine. But I can’t stop thinking about how much I would LOVE if this game had like, random encounters and stuff and each enemy was a puzzle to figure out. I’m sure that could drag the game’s flow down pretty hard but I think it can be done right, Undertale is a great example of enemies who are puzzles to solve but it works pretty well. And you could have random encounters be done on flash cards so it explains how the pencil markings go away every time.

I think this whole game could benefit from being a more traditional RPG. I know that’s really not the point. But I do think having more battles, a more standard gear system, and junk like that, could be pretty cool! Regardless, if you like RPGs that are lacking in a lot of RPG staples but are still VERY good, I think you cannot go wrong here. I swear this is not an insult but this really reminds me of the secondary Paper Mario trilogy. Both in its art style but how it also tries to make an RPG without doing a lot of the stuff that makes RPG games what they are. However... And I hate to say it, RPG TIME does this a lot better in my opinion, particularly by having REALLY fun combat. I think this new Paper Mario style could honestly learn some stuff from this game.

Final Thoughts

And that’s that on that! My first RPG of 2023! It wasn’t a very traditional one, but it really is a love letter to the genre and now it’s got me REALLY fired up to play a straight up traditional turnbased RPG.

But yeah, I had a great time with this game! It’s a fantastic little game that I haven’t really seen ANYONE play and that is SUCH a shame. I think a lot of people I follow would be REALLY into this. Like seriously if you like RPGs or goofy and cute games or ESPECIALLY Mario RPGs I think you really should check this game out. It’s now out on everything including Steam and Switch, so if you’re interesting I REALLY recommend giving it a chance! This game deserves a lot more attention than it got!

===

Thank you for reading! For some reason I had a hard time forming my thoughts on this game so it was a little difficult to write up what I wanted to say about the game. That’s why I liked doing these as twitter threads, it helped me keep my thoughts concise. But sadly I am stuck here... doomed to share my thoughts where no one can see them for eternity. Oh well.

I’ve got a lot of games I want to play this year, so I really need to get a move on. Sad to say I’ve been a little distracted from gaming this month due to being depressed, work, or just getting sidetracked with other games like Fraymakers (which is SO MUCH FUN HOLY SHIT. I hope Wright can show up in it!) and... Embarrassingly, Fornite. Which me and 2 of my siblings who are both very into Battle Royales have gotten very into recently. But I’m FINALLY making some progress into my next major game! So that’s nice. There’s some releases coming out this year I want to check out, lots of stuff on Game Pass I’ve had my eyes on for a while (which I guess I should take advantage of ASAP if it’s gonna go up in price. ugh.) And just TONS of old games I gotta play. My to-play list for 2023 is really stacked! Hopefully I can make time for everything, but if I get distracted by other games not on my list, so be it.

As always follow me on twitter for... uh, twitter stuff... And follow me here for more.... uh, gaming stuff? The year is still young, so let’s make the rest of 2023 great!

That’s all I got, thanks for taking some time out to look at my thoughts! Go out and play a game that makes you feel super creative!

[qqueenofhades]

Hi, I’ve been tasked with researching Richard Plantagenet for a paper and thus far found extremely negative accounts of the king, his religious bigotry being a reoccurring theme (his treatment of Jewish dignitaries attending his coronation and his reasoning to join the third crusade etc)

I stumbled across your wonderful tag for Richard at the weekend and wondered if you wouldn’t mind sharing your informed opinion of Richard and his views on religions ? Your writing seems very well balanced regarding his attributes and flaws. Thanks :)

Oof. Okay. So, a short and simple question, then?

Quick note: when I was first reading your ask and saw "Richard Plantagenet," I briefly assumed that you meant Richard Plantagenet, father of Edward IV, or perhaps Richard III, both from the Wars of the Roses in the fifteenth century, before seeing from context that you meant Richard I. While "Plantagenet" was first used as an informal appellation by Richard I's grandfather, Geoffrey of Anjou, it wasn't until several centuries later that the English royal house started to use it consistently as a surname. So it's not something that Richard I would have been really called or known by, even if historians tend to use it as a convenient labeling conceit. (See: the one thousand popular histories on "The Plantagenets" that have been published recently.)

As for Richard I, he is obviously an extremely complex and controversial figure for many reasons, though one of the first things that you have to understand is that he has been mythologized and reinvented and reinterpreted down the centuries for many reasons, especially his crusade participation and involvement in the Robin Hood legends. When you're researching about Richard, you're often reading reactions/interpretations of that material more than anything specifically rooted in the primary sources. And while I am glad that you asked me about this and want to encourage you to do so, I will gently enquire to start off: when you say "research," what kind of materials are you looking at, exactly? Are these actual published books/papers/academic material, or unsourced stuff on the internet written from various amateur/ideological perspectives and by people who have particular agendas for depicting Richard as the best (or as is more often the case, worst) ever? Because history, to nobody's surprise, is complicated. Richard did good things and he also did quite bad things, and it's difficult to reduce him to one or the other.

Briefly (ha): I'll say just that if a student handed me a paper stating that Richard was a religious bigot because a) there were anti-Jewish riots during his coronation and b) he signed up for the Third Crusade, I would seriously question it. Medieval violence against the Jews was an unfortunately endemic part of crusade preparations, and all we know about Richard's own reaction is that he fined the perpetrators harshly (repeated after a similar March 1190 incident in York) and ordered for them to be punished. Therefore, while there famously was significant anti-Semitic violence at his coronation, Richard himself was not the one who instigated it, and he ordered for the Londoners who did take part in it to be punished for breaking the king's peace.

This, however, also doesn't mean that Richard was a great person or that he was personally religiously tolerant. We don't know that and we often can't know that, whether for him or anyone else. This is the difficulty of inferring private thoughts or beliefs from formal records. This is why historians, at least good historians, mostly refrain from speculating on how a premodern private individual actually thought or felt or identified. We do know that Richard likewise also made a law in 1194 to protect the Jews residing in his domains, known as Capitula Judaeis. This followed in the realpolitik tradition of Pope Calixtus II, who had issued Sicut Judaeis in c. 1120 ordering European Christians not to harass Jews or forcibly convert them. This doesn't mean that either Calixtus or Richard thought Jews were great, but they did choose a different and more pragmatic/economic way of dealing with them than their peers. This does not prove "religious bigotry" and would need a lot more attention as an analytical concept.

As for saying that the crusades were motivated sheerly by medieval religious bigotry, I'm gonna have to say, hmm, no. Speaking as someone with a PhD in medieval history who specialised in crusade studies, there is an enormous literature around the question of why the crusades happened and why they continue to hold such troubling attraction as a pattern of behavior for the modern world. Yes, Richard went on crusade (as did the entire Western Latin world, pretty much, since 1187 and the fall of Jerusalem was the twelfth century's 9/11). But there also exists material around him that doesn't exist around any other crusade leader, including his extensive diplomatic relations with the Muslims, their personal admiration for him, his friendship with Saladin and Saladin's brother Saif al-Din, the fact that Arabic and Islamic sources can be more complimentary about Richard than the Christian records of his supposed allies, and so forth. I think Frederick II of Sicily, also famous for his friendly relationships with Muslims, is the only other crusade leader who has this kind of material. So however he did act on crusade, and for whatever reasons he went, Richard likewise chose the pragmatic path in his interactions with Muslims, or at least the Muslim military elite, than just considering them all as religious barbarians unworthy of his time or attention.

The question of how the crusades functioned as a pattern of expected behavior for the European Christian male aristocrat, sometimes entirely divorced from any notion of his private religious beliefs, is much longer and technical than we can possibly get into. (As again, I am roughly summarising a vast and contentious field of academic work for you here, so... yes.) Saying that the crusades happened only because medieval people were all religious zealots is a wild oversimplification of the type that my colleague @oldshrewsburyian and I have to deal with in our classrooms, and likewise obscures the dangerous ways in which the modern world is, in some ways, more devoted to replicating this pattern than ever. It puts it beyond the remit of analysis and into the foggy "Dark Ages hurr durr bad" stereotype that drives me batty.

Weighted against this is the fact that Richard obviously killed many Muslims while on crusade, and that this was motivated by religious and ideological convictions that were fairly standard for his day but less admirable in ours. The question of how that violence has been glorified by the alt-right people who think there was nothing wrong with it at all and he should have done more must also be taken into account. Richard's rise to prominence as a quintessentially English chivalrous hero in the nineteenth century, right when Britain was building its empire and needed to present the crusades as humane and civilizing missions abroad rather than violent and generally failed attempts at forced conversion and conquest, also problematized this. As noted, Richard was many things, but... not that, and when the crusades fell out of fashion again in the twentieth century, he was accordingly drastically villainized. Neither the superhero or the supervillain images of him are accurate, even if they're cheap and easy.

The English nationalists have a complicated relationship with Richard: he represents the ideal they aspire to, aesthetically speaking, and the kind of anti-immigrant sentiment they like to put in his mouth, which is far more than the historical Richard actually displayed toward his Muslim counterparts. (At least, again, so far as we can know anything about his private beliefs, but this is what we can infer from his actions in regard to Saladin, who he deeply respected, and Saladin's brother.) But he was also thoroughly a French knight raised and trained in the twelfth-century martial tradition, his concern for England was only as a minor part of the sprawling 'Angevin empire' he inherited from his father Henry II (which is heresy for the Brexit types who think England should always be the center of the world), and his likely inability to speak English became painted as a huge character flaw. (Notwithstanding that after the Norman Conquest in 1066, England did not have a king who spoke English natively until Henry IV in 1399, but somehow all those others don't get blamed as much as Richard.)

Anyway. I feel as if it's best to stop here. Hopefully this points you toward the complexity of the subject and gives you some guidelines in doing your own research from here. :)

[kingstylesdaily]

What the 2021 Grammy Awards Will Look Like

Artists including Billie Eilish, BTS, and Taylor Swift will perform in a circle of five stages with masked crew at the center — in a ceremony that first-time showrunner Ben Winston calls “part Grammys, part Abbey Road studio session”

Ben Winston is exhausted. The television producer, who moved from the U.K. to Los Angeles six years ago to start The Late Late Show With James Corden, is a week away from executive-producing his first Grammys telecast. “I literally had two hours of sleep last night,” he tells Rolling Stone via Zoom.

On Sunday, March 7th, the Recording Academy revealed a slate of performing artists for March 14th’s 63rd Annual Grammy Awards that includes Billie Eilish, BTS, Taylor Swift, Cardi B, and Harry Styles. But while those names are on the lineup, Winston knows nothing about live TV is ever set in stone — especially in the time of a pandemic —so he’s been spending his days double- and triple-checking plans, waking up at 4:30 a.m. dry-eyed and restless. He’s worked to make a show “with heart,” he says — one that “doesn’t feel isolated, quiet, or alone.” He also had to take extra steps to ensure the three-and-a-half hour show, which will not take place at the Grammys’ usual home of the Staples Center, is Covid-safe for performers and attendees. Despite all that, he appears remarkably enthusiastic and alert.

Here’s what viewers next Sunday can expect from music’s biggest night, according to Winston: a multi-stage, audience-free show that highlights the year’s creative triumphs, social justice movements, as well as Covid-19’s impact on the arts. Winston hints at several “unbelievably powerful” performances on the slate, adding that the Grammys “absolutely are acknowledging what’s happened” in the country in the last year.

Winston, who in 2018 co-produced Bruno Mars’ well-received live show at the Apollo for CBS, also wanted to highlight independent venues, which are the “lifeblood of this industry” and a launchpad for emerging musicians — so the Grammys will feature guest spots from owners and workers of iconic American venues, including L.A.’s Troubadour and Hotel Café, N.Y.’s Apollo, and Nashville’s Station Inn. “I drive past the Troubadour on my way home from work every night,” Winston says. “It’s a significant thing for me when I look at it all boarded up. I always think, ‘When those boards come down, this will be over.’ That will be the sign. That will be the day where it’s like, ‘We got through this.'” Winston realized from his conversations with venues that many of them put on their last shows on March 14th, 2020, meaning the Grammys will mark the one-year anniversary of the shutdown.

Employees will come on camera to “tell us a little bit about their venue” and present some of the awards. “So, you’ve got, like, a bartender at a beautiful, independent venue — and she’s giving out Album of the Year to these megastars,” he explains. His goal is to acknowledge the people who work tirelessly to keep these stomping grounds afloat and have recently lost their jobs. “Those venues are made up by the bartender and the security guard, the manager, the box office person, and the cleaner at the end of the night.” He hopes to remind people of the importance of supporting local venues again when it’s safe to do so.

Originally, the Grammys were scheduled for January 31st, but organizers announced a move to March right after the new year. Winston says he felt American morale was at a low point in January — between political insurrection, an impeachment trial, and Covid-19 running rampant in Los Angeles — and it “didn’t feel right” to put the show on in the middle of that. The Recording Academy and CBS, which exclusively airs the annual show, both supported his decision to postpone. “I can now do everything that I wanted to do in my best-case scenario for this year,” he says of Sunday’s show.

Sunday’s location is an undisclosed building in Los Angeles, but Winston teases that the new venue is “massive,” “magical,” and “the biggest building I’ve ever been in indoors.” “I don’t want it to look like I’m criticizing Staples, because it’s the most amazing venue,” he emphasizes, sharing that he’s open to bringing the Grammys back to the arena in the future if they ask him to. While he does believe that Staples is a safe place, he says he wanted to go above and beyond to make even the most-skeptical participants feel undoubtedly safe.

A team of Covid safety officers oversaw the production set-up, and artists will enter the stage from different directions to minimize contact. Each artist also has their own backstage area. The space “allowed us to build an entire world,” he says.

The show will involve five stages of the same size and shape, four of which are for performances and one of which is for presenters. Stages are organized in a circle, facing one another, and crew members will work from the middle of the set. “People will perform while the other three or four artists on their stages watch, applaud, and enjoy. As soon as that one finishes, the next one goes, the next one goes, and the next one goes. Every 45 minutes, you change out those stages, and you bring another four megastars into the room,” says Winston, who was partly inspired for the “part-Grammys, part-Abbey Road studio session” setup by British shows he watched as a child, including Jools Holland and TFI Friday.

It’s going to be a “bespoke night of music that I don’t know if we’ll ever be able to repeat,” Winston says. “It’s about taking a camera into a room, and making an amazing musical moment by filming it quite simply and elegantly.” Performances, which started being planned in April 2020, will be a mix of live and pre-recorded — a fully live show would involve too many crew members moving sets and risking close contact — but the whole thing is intended to feel completely live. (Winston challenges viewers to try and guess which sets are pre-recorded; he designed them to be difficult to tell.)

To help plan the sprawling, immersive show, Winston brought in a suite of collaborators including co-executive producer Jesse Collins, who produced The Weeknd’s Super Bowl halftime show; co-executive producer Raj Kapoor, who handled creative direction for various artists on the last seven Grammys and produced Vegas residencies for the likes of the Backstreet Boys and Mariah Carey; producer Fatima Robinson, whose expansive background in creative direction and choreography landed her the Black Eyed Peas’ 2011 halftime show and Kendrick Lamar’s 2016 Grammy performance; producer Misty Buckley, who handled production design for Kacey Musgraves’ 2020 Christmas show; talent executive Patrick Menton from Dick Clark Productions; Corden collaborator Josie Cliff; and Super Bowl halftime, Olympic ceremony, Oscars, and Emmys director Hamish Hamilton, who Winston describes as a “legend” he’s admired since he was 14 years old. (David Wild, who has written for the Grammys since 2001 and became a producer in 2016, is the only person returning to his role.) Winston also points out that artists were heavily involved in designing their own performances.

Rather than have cameras pan over empty seats and an awkwardly small stage, the production team decided to reinvent the visual format with the five-stage setup. The pandemic’s limitations, coupled with the advantages of new faces coming in with fresh perspectives, helped them refrain from thinking in terms of what the Grammys had done before, he said.

For the most part, Covid-19 didn’t force too many changes. It did give Winston a lot of anxiety.

“There’s been so much uncertainty with what you’re allowed to do,” he says. Changing international quarantine rules made him question whether certain performers could fly in, while health guidance keeps fluctuating: “Every time my computer or phone dings, my first instinct is, ‘Oh, God, what’s gone wrong?’ I don’t know if that’s ever been my mentality before.”

While all the performers are confirmed and currently Covid-free, “you never know, one of their girlfriends could have Covid and have to quarantine, it’s all just bonkers,” Winston says. “There’s one artist that may, in the end, not be able to make it here due to rules of the country they’re currently in. There’s one immigration issue that we’ve got left.”

The show does not have replacements on hand if anyone pulls out — it’ll just cut that performance out.

Above all, Winston wants the 2021 Grammys to focus attention off of dire times. “I want people to be able to watch the 2021 Grammys in 2040 and go, ‘Wow, what an amazing show that was,’ and not go, ‘Oh, that was the Covid year, that’s why they had to do that,'” he says. “I think that’s what we could achieve if we get it right on Sunday.”

via RollingStone.com

[grinoir]

Religious Medievalism: “Stregheria”, Wicca and History - part 1

[TN: This article will break the Introduction to Stregoneria series for a second, but I believe it’s important to set things into perspective about both Witchcraft and this blog. My goal is to put out content, translated or redacted by me, in order to give people the correct historical information. I see a lot people on TikTok messing with things they don’t know, appropriating and distorting practices and cultures and profiting off of it. The only focus of this blog is the practice and the history behind it, I don’t want to “put people down”, I want to make the information available so you won’t hurt yourselves.

Also, I do not support fa***sm, na**sm or any other movement/ideology that oppresses and discriminates people. I’m specifiying this because I’ve received an anonymous ask about it and it kind of hurt just reading it. I hope this will clarify things and make whoever asked me that more confortable with my blog and my content. I’m a history nerd Strega, nothing more.

This article will be a translation, synthesis and re-elaboration of the following articles

https://tradizioneitaliana.wordpress.com/2020/11/12/medievalismo-religioso-stregheria-wicca-e-storia/

https://medievaleggiando.it/la-legittimazione-storica-della-wicca-margaret-murray-e-la-manipolazione-delle-fonti/

https://medievaleggiando.it/il-vangelo-delle-streghe-e-linizio-della-wicca-il-fascino-di-un-falso-storico/

The first being a rectification of the two that follow.

This article will be divided in two parts because it’s way too long to read and to translate, i’m drained af]

THE DEBUNKING OF MURRAY

Margaret Alice Murray (1863-1963) was a British Anthropologist and Egyptologist, well known in the academic environment for her contributions in the studies of folklore. Even if she was very criticized and her reputation as an historian was poor, her work became popular bestsellers from 1940 onward.

The most well-known and controversial one is “The Witch-Cult in the Western Europe” published in 1921. In this book, Murray alleges that there was some sort of secret model of pagan resistance to Christianity spreaded all across Europe, and that the witches’ hunt and the proof presented to the trials were an attempt to eliminate a rival cult.

This book was clearly influenced by “Satanism and Witchcraft” by Jules Michelet, that alleged that Medieval Witchcraft was an act of popular rebellion against the oppression of feudalism and the Roman Catholic church, that took the form of a secret religion inspired by paganism and organized mainly by women.

To support her narrative, Murray chooses to analyze some of the trials that took place during the great hunt and employs 15 primary sources, mostly British or Scottish (not paneuropean, or sources from the european continent), that describe famous trials. Murray’s analysis of the Somerset Trials in 1664 offer a good example of her work ethics; quoting the testimony of Elizabeth Styles:

“At their meeting they have usually Wine or good Beer, Cakes, Meat or the like. They eat and drink really when they meet in their bodies, dance also and have Musick. The Man in black sits at the higher end, and Anne Bishop usually next him. He useth some words before meat, and none after, his voice is audible, but very low.”

Murray conveniently seems to “forget” to quote the immediately preceding phrase:

”That at every meeting before the Spirit vanisheth away, he appoints the next meeting place and time, and at his departure there is a foul smell.”

Other details offered by Styles are omitted, like when she alleges that the Devil presented to her in the shape of a dog or a cat or a fly, that the Devil offered her followers an oinment to use on their heads and wrists that made it possible to move them from a place to another. Or that sometimes the reunion involved only the spirits of the witches, while their bodies stayed at home.

Murray was fully aware of the fantasy element in the testimonies she included in her books, but she was able, by deliberately manipulating historical sources, to make people believe the fake narrative that a Medieval religion of witches with covens, rites and their own beliefs that relentlessy opposed Christianity really existed.

In her “The God of the Witches”, published in 1933 and clearly written for a commercial audience, she further broadened the scope of her claims on the witches’ cult. In this book, she alleges that until the C17th BCE the there was a religion, older than Christianity, that kept existing in all of Western Europe. Said religion, was focused on the worship of a two-faced horned god, known to the Romans ad Diano; this god presided the witches’ gathering and was mistaken by the Inquisition of the Devil, conclusion that made them associate witchcraft with a satanic cult.

Murray claims the existence of a *specific* non-christian organized cult spread all across Europe that worshipped Diano and relentlessly opposed the Roman Catholic church, but the sources she quotes are late and recount the flattening of the various “pagan” cults to the assimilation with the christian Devil, operated by the Church.

In fact, the Devil that the trials report on, depending on the religion, overlapped with different figures: in British and Scottish traditions the Devil was the result of the demonization of the King of Elphame. In the Basque country, the Devil substituted Mari. In Northern Italy it overlapped with the Donna del Buon Gioco. This means that the “Northern Italian Devil” is different from the “British Devil” and the “Basque Devil”.

This “Devil” is a figure that flattens everything and overlapped and substituted so many different figures, depending on the religion and the figure it ended up overlapping with.

Therefore, Murray’s narrative of a paneuropean cult of the Horned God stems from the analysis of late sources and to the false equivalence of the Devil that presided the Ludus (Sabba) in Scotland (where he masks the King of Elphame) and the Devil of other countries (where he masks other entities).

Since the Devil isn’t the same entity in all of Europe, the narrative of a counter-christianity organized paneuropean cult of prehistoric origin falls too. Instead, what we’re dealing with are Medieval, non-christian rielaborations of different remainders of the Religions of the Gentiles that survived in the Christian age and were absorbed in the legend of the Faery Procession/Procession of the Dominae Nocturnae first, and the legend of the Ludus (Sabba) later.

The following quote by Ronald Hutton, English historian who specialises in Early Modern Britain, British folklore, pre-Christian religion and Contemporary Paganism and professor at the University of Bristol, confirms this:

“Over a quarter of a century ago, I adopted the expression “Pagan survivals” to describe elements of ancient Pagan culture that had persisted in later Christian societies. In doing so, I was drawing a distinction between such survivals, of which there seemed to be many, and “surviving Paganism”; that is the continued self-conscious practice of the older religions, of which there seemed to be none. This point was worth making because even in the 1980s, there was a persisting belief, based on outdated academic texts, that Paganism had survived as a living force among the common people in much of medieval Europe: it was widespread in other scholarly disciplines than history, let alone among the general public. My formula and approach was adopted by other authors in the 1990s. During that decade, however, a reaction set in against it among historians who preferred to stress the comprehensive Christianization of medieval European societies and to relegate elements that had hither to been identifed as of pagan origin to categories of religiously neutral folklore or of lay Christianity. Some emphasized that the undoubted tendency of some Christians at the time to condemn such beliefs and practices as pagan was a hallmark of a highly atypical, reforming, intolerant and evangelical strain of churchman. Michael’s system of classification, in this volume, may be said to take its place in this, apparently now dominant, set of scholarly attitudes. Revisiting the issue myself, I am inclined to meet it halfway. I am startingto agree that to speak of aspects of medieval culture as “Pagan” might indeed be misleading and inadequate. Moreover, it would be especially inappropriate to characterize fgures such as the lady of the night rides, the fairy queen or the Cailleach as “Pagan survivals” when they seem like medieval or post-medieval creations. However, I have equal diffculty in describing them simply and straightforwardly as “Christian” because of their total lack of reference to any aspect of Christianity, including theology, cosmology, scripture and liturgy; all of them would indeed fit far more comfortably into a Pagan world-picture. […] It may be that the old polarized labels are becoming inadequate to describe a medieval and early modern religious and quasi-religious world that is coming to seem even more complex, exciting and interesting than it had seemed to be before.”

Also Michael Ostling, religious studies scholar focusing on the history, historiography, and representation of witches and witchcraft, confirms this in Fairies, Demons, and Nature Spirits: “Small Gods” at the Margin of Christendom, published in 2018.

“Christians encompass aspects of their prior paganism both by inversion and revaluation. But where traditional spirits remain salient to a Christianized culture in encompassed or inverted form, their ongoing reality ought not to be counted by scholars as a pagan survival—though it is likely to be so construed by Christians themselves. Such “surviving” spirits are not just marginalized or diabolized pagan remnants, they are continually re-performed, recreated through Christian ritual and Christian discourse. We find such re-creation of the small gods throughout Christian history, and throughout this volume: when the Urapmin drive out the motobil by the power of the Holy Spirit, when Andean people frame their propitiation of the yawlu with devotion to the Christian God, when Mami Water appears primarily as a trope of Pentecostal deliverance ministry, when thirteenth-century Frenchwomen see, in an unoffcial Christian saint, their best hope of negotiating the return of their stolen babies from the follets, when the brownie and Robin Goodfellow appear in prayers of protection against them, in assertions of their diabolical status, or in tolerant mention of superstitious old wives who stillbelieve in such “harmless devils,” when cunningwomen insist that they only use “good devils” or that the fairies who facilitate their divination have no fear of the cross, this is because the beings involved have succeeded in taking up a niche within Christian discourse. The “good people” have not departed, have not been driven out by the sound of church-bells or the smell of gasoline. There are no pagan survivals: small gods are Christian creations with which to think the limits of Christianity.”

In essence, Murray’s version of events that describes Paganism as an anti-church, anti-society isn’t backed by any historical evidence.

Sources:

https://tradizioneitaliana.wordpress.com/2020/11/12/medievalismo-religioso-stregheria-wicca-e-storia/

https://medievaleggiando.it/la-legittimazione-storica-della-wicca-margaret-murray-e-la-manipolazione-delle-fonti/

https://medievaleggiando.it/il-vangelo-delle-streghe-e-linizio-della-wicca-il-fascino-di-un-falso-storico/

Michael Ostling. Fairies, Demons, and Nature Spirits: ‘Small Gods’ at the Margins of Christendom. Palgrave Macmillan, 2018.

[potteresque-ire]

Here’s my response to @pussyibo, who tagged me on a post about Gg’s Li-Ning brand endorsement. 

First of all, I’d like everyone to please read @accio-victuuri‘s wonderfully written, detailedly researched post on the Li-Ning brand, the Xinjiang cotton support rally on Weibo, and the narrative the state has spun on the issue. I would’ve provided similar information in my response as well—although no way I could’ve laid it out as clearly, as to-the-point as @accio-victuuri did—because this background is critical in explaining my thoughts on this issue.

I haven’t reblogged the Li-Ning ads, but I must confess that the decision had little to do with politics. I’ve always leaned towards re-blogging art than real people.

That said, however, Gg’s Li-Ning ads have, of course, crossed my dash. And I’d be honest and say this as well: I haven’t really found them—or by extension, the idea that Gg was endorsing the brand—offensive, precisely for the reasons @accio-victuuri laid out. Li-Ning is a legend in China; a highly decorated olympic gymnast, he was the national pride chosen to be the final torch-bearer and torch-lighter for the 2008 Beijing Olympics. His company, established in 1990, was among the first Chinese brands with name-recognition overseas and has won high-profile international sponsorships—rare achievements among Chinese-owned enterprises, even to this day. 

Based on Li Ning’s identity and his company being a National Brand, I’d be more surprise if the Li-Ning brand doesn’t use homegrown, “patriotic” cotton, before even considering the practical reasons—Xinjiang cotton being a domestic product that eliminates the costs of shipping, tariffs etc; that it’s of such superior quality that international brands touted its use—a reversal of the usual downplaying of their products’ Chinese origin, due to the common associations of “Made in China”=“Bootleg”,“awful quality”; that makes up ~20% of worldwide cotton production—ie. most Chinese families are probably already using products with cotton from the region (blankets, for example). 

From that perspective, therefore, I’ve viewed the endorsement as little more than a case of a high-profile Chinese celebrity endorsing a high-profile Chinese brand, named after a national hero and targeted towards the local market. I breathed a little sigh of relief for Gg, admittedly—imagine if his new endorsement over those same few days had been for a brand under the Better Cotton Initiative; he would’ve been flayed alive, if the antis’ words were knives.

(And who said they aren’t?)

As such, I also haven’t considered the Li-Ning brand as “morally inferior” to Gg or Dd, or, the other way around, that Gg or Dd are “morally superior” to the Li-Ning brand. I haven’t considered drawing a moral ruler along this axis. I either believe they’re all doing what their sociopolitical environment has taught them, guided them, demanded them to do, or I don’t. Li Ning (the person and the brand), Gg, and Dd all have a celebrity status attached to them. They’ve all flourished in that one sociopolitical environment—that one they also call home.  

Ultimately, Gg and Dd belong to China. They’re the product of the country, its all powerful, all controlling regime. No one can be isolated from their backgrounds—my background colours every word I say here; likewise, there’s no place I can draw a line and separate Gg and Dd from the Communist Red behind them. I wouldn’t have posted about China’s sociopolitical environment, researched on it as a GgDd fan otherwise. 

I either walk away from them all, or I don’t. I either stay a fan, or I don’t. The latter is my choice. Every minute.

Have there been instances in which news about Gg and Dd make me especially uncomfortable? Yes. Photos of Gg in PLA (People’s Liberation Army; Chinese army) uniform for AT, or Dd in police uniform for BAH, for TTXS still give me stomach churns every time I see them. A violent squeeze of the heart.

Visceral reactions that come from, I suppose, the amyglada. More organic, primitive than thought. 

I’ve seen those uniforms in RL action—uniforms worn by those who’re truly responsible for the labor camps and mass surveillance, the torture, the unreported deaths, the disappearances; uniforms Gg and Dd have expressed support outside their drama, their host roles:

Translation: #I support Hong Kong Police too# (On red banner) “I support HK police. You can beat me up now.” What a shame for Hong Kong.

(Dd reblogged the same post originated from People’s Daily, the State-Controlled Newspaper).

I’m going to go on a quick detour and provide the backstory of this red little box, this piece of propaganda that is much more blatant than a clothing ad. I’ll explain why in a bit.

Here’s an article that explained the incident from which the quote was drawn, that occurred on 8/13/2019 during the Hong Kong Protest and the airing of The Untamed. Essentially, a Chinese state media reporter was suspected to be a spy among the protestors after taking photos, refusing to show his press pass (he was found to have one but not his own), and possessing a “I love HK Police” shirt; he was tied to the luggage cart and beaten up. The reporter said the quote in the red little box; he suffered mild injuries and was soon discharged by the hospital.  What was the background of this story, however? Why did the protestors beat up someone who could be from the press—who, regardless of their affiliation, protestors know should be protected? The protests began in June, 2019. Hong Kong had had another large scale protest in between September to November, 2014 (aka the “Umbrella Revolution”). Spies had always been an issue. Why didn’t a spy beating happen earlier?

Here’s an English-subbed documentary (warning: violence) that offers insight of the background—the fear and fury of the protestors. The subject is what is now known as 721 Yuen Long incident, or the evening Hong Kongers—even those who had not been involved, who had been unsure about the protests—lost their trust of the Hong Kong Police, once known as “Asia’s finest”.

That evening went like this. On 7/21/2019, the local mafia violently attacked the passengers of a late night train in Yuen Long station—passengers who weren‘t protestors (who wore black)—while the police ignored the multiple emergency calls from locals who’d spotted something suspicious, and didn’t show up on the scene while the beatings occurred. Evidences, which the documentary detailed, pointed to the Hong Kong Police, and the government that backed it, endorsing the beatings, therefore working with the local mafia to deal with the protests. 

By 8/13/2019, therefore, protestors were convinced that their opposition wasn’t beyond using very low blows to get their way. One could argue that they overreacted to the spy-reporter; the Western media, who had long trusted HKers to know what they were doing, expressed its disappointment, and the protestors soon apologised. The Chinese propaganda machine, of course, jumped at the chance of casting the protestors as bad people, and the online rally on Weibo ensued (It lasted for at least three days; Gg and Dd reblogged post about HK between 8/14/2019-8/16/2019).

That was, briefly, the story behind Gg and Dd’s Weibo reblog.

Why did I make a detour and write up this story? Because I’ve actually posted blatant propaganda on my blog—the Weibo post, with its red little box. However, does it still feel like propaganda with the story?

Therefore, I haven’t, and don’t plan on pressuring anyone to stop posting and re-blogging specific pieces of GgDd information—be it an ad as in this scenario, or propaganda material from films, series, government/state-controlled media announcements etc. That I believe everyone should set their own boundaries, be their own judge of what they’d like to share on their own blog aside, I think—and this is where my opinion may deviate from many—“canceling” falsehoods often isn’t the best way to deal with them. 

This opinion is likely, again, coloured by my background.

My observations have been this: “cancelling” is effective only if the cancelling force is, overall, significantly stronger than the force being cancelled. In the scenario that prompted this post, making Gg’s Li-Ning ads disappear from the dash is only possible if there are more fans who ignore the ads than those who post and reblog them. “Canceling” is therefore a competition of headcount, with tactics for sidekick—the side with more people, and people who are good at disseminating information, decides the outcome: whether the intended-to-be-cancelled material go viral within the fandom, or whether they die out.

I’d like to highlight this word: headcount.

This isn’t the most favourable kind of competition to participate in, therefore, if the potential opposition belongs to the populous country in the world, its members, people who may have participated in fan circles, which are essentially fan armies who’ve been used to organising, battling on social media for their idols. I’ve previously set up a hypothetical scenario, in which Dd’s supertopic members were encouraged by their government to scale the Great Firewall to Twitter, spread their support of Xinjiang cotton—a scenario that is not totally unrealistic, given that the Chinese government has previously mobilised fans for propaganda purpose. 

We’ll use this thought experiment again ~ please bear in mind, once more, that this is SJD; a figment of our imagination.

Since we’re talking about Li-Ning brand, let’s add Gg’s supertopic members to the mix. The total supertopics member count is 6.11 + 8.34 = 14.45 million, as of today (2021/04/04). 

Let’s say, only a tiny, tiny percent—0.01% of them are mobilised; that’s 1,400 people.

Is it possible to cancel the voices, the retweets of 1,400 in Gg and Dd’s i-fandom? Cut down another 90%, reduce the opposition headcount to 140. Is it possible?

There are also overseas Chinese who do not intend to spread propaganda, but believe in the story and have no qualms disseminating the information. There are also fans who wish to remove politics from fandom and pass all information along.

Here lies the frustration of those who’ve tried to raise their voice of concerns re: the policies and practices of the Chinese government on social media; and this is why I mentioned that my background informed my opinion. On social media, where headcount and whoever shouts the loudest, retweet etc the most wins the exposure game, it’s nearly impossible to win against the Chinese Communist Party (CCP)’s propaganda machine, if the party chooses to have the machine running. 

Their side has so many people.

One more RL example: here’s a scholarly article detailing how Diba (帝吧), an old, popular online forum in China with 20 million members, mobilised, collectively scaled the Firewall and engaged in a cyberattack of the Facebook page of Taiwanese President Tsai Ing-Wen on January 20, 2016 — the day of President Tsai Ing-wen’s first inauguration; they left a total of 26,000 comments against Taiwan independence, using Simplified Chinese (which China uses) for their font instead of Traditional Chinese (which Taiwan and Hong Kong uses)—ie, the commenters didn’t even pretend to be not from China. They were proud and open about their "Expedition”.

(China’s state-controlled tabloid Global Times—yes, the same one involved in the Hong Kong airport incident above—”concluded the campaign was a “fun normal incident” that showcased young people’s passion for politics”)

Is it possible to try to cancel something of that scale? Is it realistic?

Personally, therefore, I’ve always advocated for “immunisation”: rather than protecting a fact by wiping out its associated lies—the idea behind “cancelling” a message, not having it show up on the dash—I prefer to do so by allowing it to be visibly challenged, until observers are no longer easily swayed by falsehoods. I used Gg and Dd’s Weibo reblog re: Hong Kong police as an example—is the red little box propaganda, a challenge to the protests? Yes. Is it information that I deeply disagree with, something I wish I’ll never see again? Also yes. But by providing context to it, I’m hoping to turn it into a vaccine—something mimicking the virus, the potentially viral piece of information, but doesn’t function the same way anymore. 

Hopefully, this vaccine will also encourage stop-and-think moments that boost future immunity; hopefully, with a few more boosters, questions will come automatically with such red little boxes reappear— questions about the context, the purpose, the message. 

Questions like these, for this incident: why did the State media make this incident the “Gotcha” moment in the Hong Kong Protests, important enough for People’s Daily to make a rally-starting meme? Why was the reporter, Fu Guohao hailed as a hero, when he’d just got ... beaten up? 

What did People’s Daily, and the government behind it, want people to find when the red little box popped up everywhere on Weibo, including the Weibo of the fastest rising stars from the hit summer TV series? What belief could be expected to be instilled into the audience with this photo, published by China’s state TV station (CGTN), of the reporter tied up to a luggage cart and surrounded by black-cladded protestors?

Who looked like the strong, evil side? The meek, good side? Why, finally, was the tag about the Hong Kong Police, when the conflict was between the protestors and an alleged Chinese state media reporter?

By then, Hong Kongers were already suspicious that the Hong Kong Police had been infiltrated by China’s law enforcement arm, from hints from the different dialects the police used, how they handled the protestors etc. It was the start the final break down of Hong Kong’s autonomy. Their suspicions were not wrong. Now, with the National Security Law having taken effect since July 2020, Hong Kong’s transformation into a police state is well under way.

What does the tag #I support Hong Kong Police too# mean now?

[Please excuse my using many examples from HK because 1) I’m familiar with the details; and 2) it’s the only instance in recent history in which the outside world can see, with relative clarity, a large-scale protest against the Chinese government and its outcome.]

Here’s my humble wish: next time, when a government-sponsored memes like this get translated and posted, be it originally reblogged by Gg, Dd, or other c-ent stars, be it on Twitter or Tumblr, the vaccinated, immunised will pause and wonder: What’s the story? What’s being told inside the Great Firewall, and outside? 

If this happens, red little boxes on my blog, unpleasant as they are, are 100% worth it.

The Li-Ning ads are therefore worth it too, IMO, if they spark a conversation, a dissemination of facts and perspectives. To me, the latter is especially precious in this fandom, where significant language and cultural barriers exist.  Fans who move Gg and Dd’s news and candies from Weibo are the pillars of this fandom. Sieving through that website is hard, translations harder; it’s unfair and unrealistic to ask them to also be the background knowledge deliverers. 

I’ve tried to do a small part, but I’m ... slow. Very, very slow. However, even if the background isn’t available, I’ve found being careful, skeptical about the information is already a very good thing. At heart, this is no different from the lessons from media literacy here, except there are even more falsehoods and half-truths to wade through given the country of origin of Gg and Dd’s material, and trustworthy sources are not always available. Li-Ning brand is an example that things do not need to be blatant propaganda to carry a pro-CCP message. 

What can i-fans do then about the Xinjiang cotton situation, if competing against the Chinese government propaganda machine on social media appears to be a losing game?

My thoughts are these, at the moment. First, please consider not dwelling on the competition, especially within fandom. Remember: getting several fewer fans to buy Li-Ning brand isn’t going to change the big picture.

Instead, if this is an area of activism you choose to participate in—please consider channeling your effort to watching the companies in your country. Put pressure on sustainability & good practice certification companies like Better Cotton Initiative, make sure they don’t, can’t have it both ways. Xinjiang cotton is either certified or it isn’t. There’re suspicions of forced labor on its production or there aren’t. The answer should be a simple yes or no, not whether the office is in Geneva or in Shanghai.

This is an answer that we, as consumers, have the right to know. Transparency in China isn’t for us to demand; we can, however, demand transparency in our own country. Remember too: it makes a far, far greater difference for one international company to re-consider its cotton source, than for one fandom to do the same. 

Meanwhile, and again, this is my humble opinion—please do whatever you’re comfortable with, that is within your ability, to fortify your stance. Should you choose to speak out online, you’ll likely meet opposition. Responses on current events from the Chinese Foreign Ministry (you can also find the spokespeople on Twitter) can offer a glimpse of the counterarguments you may meet. How will you answer them? Here’s a clip of one of the spokespeople arguing that the US used to use black slavery to pick cotton in the past. If you’re American and this is presented to you—what would you say? (Does mistakes by one country in the past mean mistakes by another country in the present is automatically acceptable?) The opposition may also use vicious words, the most extreme of which is probably “racist”. If someone call you racist—if many Twitter users scream racist!!!!!!!! at you at the same time for your critique—can you stand firm? 

[The pro-CCP camp has been taking advantage of the West’s effort to move forward from its racist past to stop any criticism of the Chinese government. It already knows the easiest way to silence the criticisms is to call whoever makes them racist.]

[If everyone fears the racist allegation, allows the conflation of Chinese government and Chinese people to take root, will there be more or less anti-Asian sentiments in the long run?]

[I’ve been called racist by writing these metas.] 

The last thing I’d like to say is this: please be kind to your fellow fans who’ve kept mum, or been hesitant about making their stance known. Some may be closely connected to China, others may not be in a psychological / health space to deal with the politics. Also, and here’s my default way of looking at this: I disagree with the idea that anyone owes anyone else a declaration of their political beliefs. I can’t imagine this issue to be an easy thing to think about for many Gg and Dd fans, myself most definitely included ~ as a (former) Hong Konger, a uniformed Gg or Dd gives me an unpleasant visceral response, but at the same time, it also means I’m used to accepting, even genuinely liking people on the other side of this political ... Grand Canyon. I can imagine the conflict, the pain this issue may have caused some fans who’re not accustomed to the latter, as being a fan, IMO, is never purely logical ~ and I mean that in the best of ways. 

Passion is the magic ingredient that separates a fan and a consumer. It’s also what makes choices difficult, when conclusions from logic, political stance included, conflict with it. Some make the hard choices quickly; some, slowly. Some make them in one go; some, piece by piece. Some never make them, let time be the decision maker.

As Dd said so famously and wisely, about the conflict between passion and logic: 愛就是這樣，沒有辦法 Love is like that. Nothing can be done.

The only common denominator is this: we’re all made to love.

❤️.💛.💚.

[bloodbenderz]

humaniterations (dot) net/2014/10/13/an-anarchist-perspective-on-the-red-lotus/ this article from oct 2014 is very dense — truly, a lot to unpack here, but I feel like you would find this piece interesting. I would love it if you shared your thoughts on the points that stood out to you, whether you agree or disagree. you obv don’t have to respond to it tho, but I’m sending it as an ask jic you feel like penning (and sharing) a magnificent essay, as is your wont 💕

article

i know this took me forever 2 answer SORRY but i just checked off all the things on my to do list for the first time in days today so. Essay incoming ladies!

ok im SO glad u sent me this bc it’s so so good. it’s a genuinely thoughtful criticism of the politics in legend of korra (altho i think its sometimes a little mean to korra unnecessarily like there’s no reason to call her a “petulant brat” or say that she throws tantrums but i do understand their point about her being an immature and reactionary hero, which i’ll get back to) and i think the author has a good balance between acknowledging like Yeah the lok writers were american liberals and wrote their show accordingly and Also writing a thorough analysis of lok’s politics that felt relevant and interesting without throwing their hands up and saying this is all useless liberal bullshit (which i will admit that i tend to do).

this article essentially argues that the red lotus antagonists of s3 were right. And that’s not an uncommon opinion i think but this gives it serious weight. Like, everything that zaheer’s gang did was, in context, fully understandable. of course the red lotus would be invested in making sure that the physically and spiritually and politically most powerful person in the world ISNT raised by world leaders and a secret society of elites that’s completely unaccountable to the people! of course the red lotus wants to bring down tyrannical governments and allow communities to form and self govern organically! and the writers dismiss all of that out of hand by 1. consistently framing the red lotus as insane and murderous (korra never actually gives zaheer’s ideas a chance or truly considers integrating them into her own approach) 2. representing the death of the earth queen as not just something that’s not necessarily popular (what was with mako’s bootlicker grandma, i’d love to know) but as something that causes unbelievable violence and chaos in ba sing se (which, like, a lot of history and research will tell you that people in disasters tend towards prosocial behaviors). so the way the story frames each of these characters and ideologies is fascinating because like. if you wanted to write season 3 of legend of korra with zaheer as the protagonist and korra as the antagonist, you wouldn’t actually have to change the sequence of events at all, really. these writers in particular and liberal writers in general LOVE writing morally-gray-but-ultimately-sympathetic characters (like, almost EVERY SINGLE fire nation character in the first series, who were full on violent colonizers but all to a degree were rehabilitated in the eyes of the viewer) but instead of framing the red lotus as good people who are devoted to justice and freedom and sometimes behave cruelly to get where theyre trying to go, they frame them as psychopaths and murderers who have good intentions don’t really understand how to make the world a better place.

and the interesting thing about all this, about the fact that the red lotus acted in most cases exactly as it should have in context and the only reason its relegated to villain status is bc the show is written by liberals, is that the red lotus actually points out really glaring sociopolitical issues in universe! like, watching the show, u think well why the fuck HASN’T korra done anything about the earth queen oppressing her subjects? why DOESN’T korra do anything about the worse than useless republic president? why the hell are so many people living in poverty while our mains live cushy well fed lives? how come earth kingdom land only seems to belong to various monarchs and settler colonists, instead of the people who are actually indigenous to it? the show does not want to answer these questions, because american liberal capitalism literally survives on the reality of oppressive governments and worse than useless presidents and people living in poverty while the middle/upper class eats and indigenous land being stolen. if the show were to answer these questions honestly, the answer would be that the status quo in real life (and the one on the show that mirrors real life) Has To Change.

So they avoid answering these questions honestly in order for the thesis statement to be that the status quo is good. and the only way for the show to escape answering these questions is for them to individualize all these broad social problems down into Good people and Bad people. so while we have obvious bad ones like the earth queen we also have all these capitalists and monarchs and politicians who are actually very nice and lovely people who would never hurt anyone! which is just such an absurd take and it’s liberal propaganda at its best. holding a position of incredible political/economic power in an unjust society is inherently unethical and maintaining that position of power requires violence against the people you have power over. which is literally social justice 101. but there’s literally no normal, average, not-politically-powerful person on the show. so when leftist anarchism is presented and says that destroying systems that enforce extreme power differentials is the only way to bring peace and freedom to all, the show has already set us up to think, hey, fuck you, top cop lin beifong and ford motor ceo asami sato are good people and good people like them exist! and all we have to do to move forward and progress as a society is to make sure we have enough good individuals in enough powerful positions (like zuko as the fire lord ending the war, or wu as the earth king ending the monarchy)! which is of course complete fiction. liberal reform doesn’t work. but by pretending that it could work by saying that the SYSTEM isnt rotten it’s just that the people running it suck and we just need to replace those people, it automatically delegitimizes any radical movements that actually seek to change things.

and that’s the most interesting thing about this article to me is that it posits that the avatar...might actually be a negative presence in the world. the avatar is the exact same thing: it’s a position of immense political and physical power bestowed completely randomly, and depending on the moral character and various actions of who fills that position at any given time, millions of people will or won’t suffer. like kyoshi, who created the fascist dai li, like roku, who refused to remove a genocidal dictator from power, like aang, who facilitated the establishment of a settler colonial state on earth kingdom land. like korra! she’s an incredibly immature avatar and a generally reactionary lead. i’ve talked about this at length before but she never actually gets in touch with the needs of the people. she’s constantly running in elite circles, exposed only to the needs and squabbles of the upper class! how the hell is she supposed to understand the complexities of oppression and privilege when she was raised by a chess club with inordinate amounts of power and associates almost exclusively with politicians and billionaires?? from day 1 we see that she tends to see things in very black and white ways which is FINE if you’re a privileged 17 yr old girl seeing the world for the first time but NOT FINE if you’re the single most powerful person in the world! Yeah, korra thinks the world is probably mostly fine and just needs a little whipping into shape every couple years, because all she has ever known is a mostly fine world! in s1 when mako mentions that he as a homeless impoverished teenager worked for a gang (which is. Not weird. Impoverished people of every background are ALWAYS more likely to resort to socially unacceptable ways of making money) korra is like “you guys are criminals?????!!!!!” she was raised in perfect luxury by a conservative institution and just never developed beyond that. So sure, if the red lotus raised her anarchist, probably a lot would’ve been different/better, but....they didn’t. and korra ended up being a reactionary and conservative avatar who protected monarchs and colonialist politicians. The avatar as a position is completely subject to the whims of whoever is currently the avatar. and not only does that suck for everyone who is not the avatar, not only is it totally unfair to whatever kid who grows up knowing the fate of the world is squarely on their shoulders, but it as a concept is a highly individualist product of the authors’ own western liberal ideas of progress! the idea that one good leader can fix the world (or should even try) based on their own inherent superiority to everyone else is unbelievably flawed and ignores the fact that all real progress is brought about as a result of COMMUNITY work, as a result of normal people working for themselves and their neighbors!

the broader analysis of bending was really interesting to me too, but im honestly not sure i Totally agree with it. the article pretty much accepts the show’s assertion that bending is a privilege (and frankly backs it up much better than the original show did, but whatever), and i don’t think that’s NECESSARILY untrue since it is, like, a physical advantage (the author compares it to, for example, the fact that some people are born athletically gifted and others are born with extreme physical limitations), but i DO think that it discounts the in universe racialization of bending. in any sequel to atla that made sense, bending as a race making fact would have been explored ALONGSIDE the physical advantages it bestows on people. colonialism and its aftermath is generally ignored in this article which is its major weakness i think, especially in conjunction with bending. you can bring up the ideas the author did about individual vs community oriented progress in the avatar universe while safely ignoring the colonialism, but you can’t not bring up race and colonialism when you discuss bending. especially once you get to thinking about how water/earth/airbenders were imprisoned and killed specifically because bending was a physical advantage, and that physical advantage was something that would have given colonized populations a means of resistance and that the fire nation wanted to keep to itself.

i think that’s the best lens thru which to analyze bending tbh! like in the avatar universe bending is a tool that different ethnic groups tend to use in different ways. at its best, bending actually doesn’t represent social power differences (despite representing a physical power difference) because it’s used to represent/maintain community solidarity. like, take the water tribe. katara being the last waterbender, in some way, makes her the last of a part of swt CULTURE. the implication is that when there were a lot of waterbenders in the south, they dedicated their talents to building community and helping their neighbors, because this was something incredibly culturally important and important to the water tribe as a community. the swt as a COLLECTIVE values bending for what it can do for the entire tribe, which counts for basically every other talent a person can have (strength, creativity, etc). the fire nation, by contrast, distorts the community value of bending by racializing it: anyone who bends an element that isn’t fire is inherently NOT fire nation (and therefore inherently inferior) and, because of the physical power that bending confers, anyone who bends an element that isn’t fire is a threat to fire nation hegemony. and in THAT framework of bending, it’s something that intrinsically assigns worth and reifies race in a way that’s conveniently beneficial to the oppressor.

it IS worth talking about how using Element as a way to categorize people reifies nations, borders, and race in a way that is VERY characteristic of white american liberals. i tried to be conscious of that (and the way that elements/bending can act in DIFFERENT ways, depending on cultural context) but i think it’s pretty clear that the writers did intend for element to unequivocally signify nation (and, by extension, race), which is part of why they screwed up mixed families so bad in lok. when they’ve locked themselves into this idea that element=nation=race, they end up with sets of siblings like mako and bolin or kya tenzin and bumi, who all “take” after only one parent based on the element that they bend. which is just completely stupid but very indicative of how the writers actually INTENDED element/bending to be a race making process. and its both fucked up and interesting that the writers display the same framework of race analysis that the canonical antagonists of atla do.

anyway that’s a few thoughts! thank u again for sending the article i really loved it and i had a lot of fun writing this <3

[skyloftian-nutcase]

Headcanons about the LU boys and keeping a diary

Wild: Technically, he does keep a diary in canon - the Japanese translation for the adventure log is written from Link’s perspective. So Wild does, in fact, keep a diary. Based on the few translations I’ve seen, it’s kind of a reflection of events while keeping tabs on what he needs to do next and what transpired.

Wind: Doesn’t really care to keep a diary, but will write letters of all his adventures and thoughts on the Chain to his grandmother and sister. Somehow the post man always manages to find them, so he gets to send them regularly.

Warriors: Would definitely write in a diary, but it kind of serves as a log where he just jots down the events of the day with very few words about his actual feelings on them. But he’ll go on and on about his brothers and their heroics.

Time: Writes in a diary for the sole purpose of keeping everything straight in his head. Simple, clipped, very straightforward retelling of things, can recount a day in like four sentences. It also gives him a sense of belonging in history, like maybe someday someone will read it and recognize that he actually played a pretty big role in Hyrule’s history. Not that he needs the acknowledgement or closure, of course not, he doesn’t have complicated feelings that he’s been dealing with since he was nine, why do you ask. Inevitably, he always throws it out, but then a year or so later he does it again, rewriting his adventure from long ago and then talking about what he’s doing now. 

Sky: A diary is too much effort - if he recounts the day he barely gets into a single event before giving up on the venture. He doesn’t want to dig too deeply into his thoughts about things, he doesn’t want to dig up anything negative about his day. He’s happy in the moment and daydreams the rest away, outside of that he is a person of action. He’s always lived like that and it works well until he uses it to run from things that bother him and then he just starts zoning out until he finally snaps.

Four: A diary is essential, it’s a great grounding force and helps him parse out the hours of conversations that go on in his head. He fills up a diary in like a month. He can also look back and laugh and always tell when he splits, because Red is absolutely the first person to grab the diary and start scribbling in it. All the colors like to write in it if they’re split, and sometimes Red’s recounting of how a certain event made him feel will get cut off mid-word and be replaced by Blue’s harsh handwriting as he bluntly says what the event was and moves on.

Legend: He doesn’t write diaries, he writes novels. He loves recounting his adventures, but after Koholint his diary becomes his reality check. He writes down everything so he knows what’s real and what isn’t. If he had a dream about something and wakes up in that weird state where you’re not sure if you just dreamt something or if you’re still dreaming, he’ll grab his diary to check. And of course it’s absolutely filled to the brim with embellishments and quips because the boy is naturally a drama queen. When he recounted turning into a bunny in front of Twilight, he added it was literally one of the worst moments of my life, even though he and everyone else knows it absolutely was not.

Hyrule: At best he’ll make notes about what’s what on his travels so he doesn’t eat another poisonous mushroom and have to use the majority of his magic reserves to make sure he doesn’t die while puking his guts out. That wasn’t fun. Mostly comprised of drawings with notes like “DO NOT EAT” or “the one thing that won’t kill you in this region.”

Twilight: Isn’t much for writing in general, tried writing in a diary after his adventure to parse out his feelings and just couldn’t get into it. He couldn’t even put his feelings into words, after all.

[x--daughters-of-darkness--x]

HALESTORM: Behind-The-Scenes Footage From Making Of 'Back From The Dead' Video

HALESTORM has shared behind-the-scenes footage from the making of the official video for the band's new single, "Back From The Dead". The track is taken from the group's upcoming fifth full-length album, due in 2022. Directed by Dustin Haney (Noah Cyrus, Luke Combs) and produced by Revolution Pictures, the clip features frontwoman Lzzy Hale and the rest of the band in a morgue and cemetery somewhere between life and death.

Lzzy says: "'Back From The Dead' is about survival, not in a physical sense, even though I know we all have been touched by death especially these last few years. This song is personal and written from a mental health perspective. I wanted to give myself and the world a hard rock song we could shout out loud as the gates opened again. I was on the edge of this world getting completely lost in oblivion, but even though it was the harder of two choices, I didn't just let the darkness and depression in my mind dig me an early grave. I didn't just sit and let it take me. I've erased my name from my headstone, so save your prayers, I'm back! I hope this song, as I pass it on to you, reminds YOU of your strength individually and that you are not alone."

She continues: "The video was so much fun to film! Dustin Haney is an amazing director. Dustin and his team really helped bring my words to life and the video is one of the most cinematic pieces we've done in years! I hope this song, as I pass it on…reminds YOU of YOUR individual strength and that you are not Alone. Raise your horns!"

By breaking rules, bucking trends, and busting down doors, HALESTORM has surged through rock 'n' roll on a singular path without compromise or apology. Along the way, the Pennsylvania-bred and Nashville-based quartet — Lzzy Hale (vocals, guitar), Arejay Hale (drums), Joe Hottinger (guitar) and Josh Smith (bass) — has collected a Grammy Award, scored successive number ones at radio, garnered multiple gold and platinum certifications, and performed to sold out crowds on five continents.

Going against the grain again in 2021, the band weathered the flames of chaos in 2020 and returned stronger than ever with their most empowering and undeniable anthems to date.

"Throughout the pandemic, I was writing a lot of melancholic and hopeless songs about the ups and downs of the world," admits Lzzy. "I've been in this group longer than I haven't been in it. We've always had shows. Even when I was 13 years old, we had a couple of bowling alley gigs once a month. This was the first time I didn't know if we would ever play again. However, I started to use music in the same way I did as a teenager—to get myself through this situation that was plaguing us all. I sidestepped and said, 'Let's keep our heads up, get our attitude back, be a light in the dark for a second, and celebrate the fact we're surviving and there's hope for the future.' So, we started to write songs that were a reminder to ourselves of who we are and what we're capable of. That became the mission statement."

In a way, it's always been the mission statement…

Since roaring to life in 1998, HALESTORM has uplifted audiences with a combination of sonic ass-kicking, provocative songwriting, and unshakable hooks. The four-piece received a Grammy Award in the category of "Best Hard Rock/Metal Performance" for "Love Bites (So Do I)". The song also minted them as the first female-fronted band to hit #1 on the Active Rock radio charts. Thus far, their discography spans two gold albums "Halestorm" and "The Strange Case Of..." , a platinum single "I Miss The Misery", and two gold singles "Here's To Us" and "I Get Off". Between surpassing one billion cumulative streams worldwide, they've notched two consecutive Top 10 debuts on the Billboard Top 200 with "Into The Wild Life" (2015) and "Vicious" (2018). The latter represented a critical high watermark with Rolling Stone citing it as "a muscular, adventurous, and especially relevant rock record." In its wake, "Uncomfortable" emerged as their fourth #1 at rock radio and earned their second Grammy Award nomination, while Loudwire christened HALESTORM "Rock Artist Of The Decade" in 2019. Not to mention, they have supported everyone from HEAVEN & HELL and Alice Cooper to Joan Jett on the road.

Even as the world went dormant during 2020, Lzzy remained prolific. She lent her voice to collaborations with everyone from Dee Snider of TWISTED SISTER, IN THIS MOMENT, APOCALYPTICA, and Mark Morton of LAMB OF GOD to EVANESCENCE, Cory Marks, and Mongolian phenomenon THE HU. Additionally, she joined forces with a trio of legends — Corey Taylor of SLIPKNOT, Scott Ian of ANTHRAX and original SLAYER drummer Dave Lombardo — for the theme song to Netflix's "Thunder Force". Plus, the group contributed a cover of THE WHO's "Long Live Rock" to the documentary of the same name. Expanding her presence across television, she hosted the AXS TV "A Year In Music" series, joined the cast of Hit Parader's "No Cover" as a judge, provided the singing voice for Bella Thorne in the Prime Video hit "Paradise City" and launched her own show "Raise Your Horns" on Rolling Live. On the channel, she appeared in Mike Garson's David Bowie tribute with a performance of "Moonage Daydream" alongside Broadway star Lena Hall. She also participated in the platform's Ronnie James Dio tribute, supporting the Stand Up And Shout Cancer Fund.

At the same time, she remained a huge proponent of encouraging the dialogue around mental health. She participated in a Grammy Mental Health panel and empowered the next generation of rock musicians as the keynote speaker at the Little Kids Rock Modern Band Summit. She also made history as Gibson Guitars' first-ever female ambassador.

"I've learned a lot about myself through all of these different projects," she admits. "I said 'yes' to various adventures, and it made me a better artist."

Working out of her home studio in Nashville, Lzzy and the band channeled this renewed spirit into the music at the onset of 2021. Collaborating with Scott Stevens of THE EXIES, the musicians hit their stride and cooked up the single 'Back From The Dead'. Dramatic distortion and drums rumble as she screams, "I'm back from the dead!" HALESTORM come out swinging as punchy verses give way to a call-and-response chorus shocked to life with a searing solo and thunderous groove.

"We needed a reintroduction," she exclaims. "We needed something that simply said, 'Hey, we're back'. The live show is the time we feel as truly alive as we can be. When you walk out on stage with your guitar strapped on, your guys are next to you, and you have an audience looking at you, it's everything. We're celebrating the fact we're all back together again. Whatever it is that was trying to destroy that part of myself and my bandmates that our fans need couldn't do it. It failed miserably. We're fucking back."

From the moment the band graced the stage at a secret Nashville gig, they were indeed "back," albeit louder, heavier, and emboldened by an unbelievable year. Amped up to jump back in, their tour schedule took shape with festival dates followed by a co-headline run with EVANESCENCE in the fall.

Readying their fifth full-length album, they're delivering the soundtrack for a world ready to roar again.

"We've lost a lot of people, but we can start healing again," she leaves off. "I appreciate the little things even more. I don't only feel this confidence in myself, but also in every one of my band members. We're not the same people, none of us could ever be. HALESTORM is my source of my joy. It's my connection. It's the closest thing to my religion. We're moving forward. With this next album, I hope we're able to create a greater sense of community. We have a beautiful opportunity. When you listen to it, I want you to feel like you can walk through any fire."

[shrinkthisviolet]

Can we talk about something for a second, Flash fandom? It’s about Nora’s power dampening.

I’ve been working on a fic about Nora & Future Iris, and I know the debate of “was Iris justified in what she did to Nora?” is a VERY polarizing one (less so now, but everyone has some opinion on it).

And I was always in the camp of “yeah, she should’ve told Nora when she was old enough, but it was likely a grief response to how similar Nora was to Barry, and Nora also shouldn’t have been a brat about it since she was 25-28 when she found out.” Like...I knew what Iris did was wrong, but also, come on, Nora. You’re not a little kid, you’re a grown woman. Have some perspective.

But then while I was working on this fic, I vaguely remembered that they hinted at metahumans being illegal in 2049. So I did a little digging, and guess what? THEY WERE!

Source 30 is from a Legends episode that took place in 2017, during S4 of the Flash. Source 31 is from a different Legends episode that takes place in 2019, a week after S5 of the Flash. Here’s the link to the wiki article that the picture is from

This means that in Nora’s future, in 2049, metas were arrested, tortured, and experimented on! It would explain why the Team disbanded (Cisco, Ralph, Wally, and Caitlin, as metas, would have to go into hiding), and...it would also explain why Iris dampened Nora’s powers, wouldn’t it?

I mean, I’m not a mom, but if my daughter’s powers were growing at an alarming rate, and my speedster husband (and our meta friends) weren’t around to protect and/or train her? And there was a chance she could be arrested and tortured?? I would absolutely consider dampening her powers!

All this to say, I think both Iris haters and defenders do her a disservice when we ignore this. I haven’t seen anyone talk about this, and it feels like a really important bit of context to leave out.

But you’d better believe my fic is gonna talk about it 😂 Future Iris deserves for her perspective to be heard, especially by Nora and Present Westallen!

EDIT: if anyone wants to read the fic I mentioned, it’s written now! You can read it here

[phoenixtakaramono]

Does Bing gē Have Descendants in ‘The Untold Tale?’

This topic has come up a few times since The Untold Tale takes place in the PIDW universe (post-Bingge vs Bingmei extra), I figured I might as well compile and archive my official answer here for me to refer my AO3 readers to in the future for convenience’s sake. I hope everyone doesn’t mind. :) I’m always happy to answer questions!

TL;DR

Q: Will we see Bing gē having fathered children with his harem of 600 or so wives in TUT?

A: For TUT, the answer is a definite “no.” There were a lot of factors which’d contributed to my decision. I’ll try to explain my reasoning down below.

Context

In PIDW, it is canon that Luo Binghe has a bountiful number of descendants with his harem of 600-or-so wives. It is a detail that has been mentioned even in ch1 of SVSSS and in ep1 of the donghua.

(SVSSS Excerpt - ch1)

(SVSSS donghua - ep1)

I like to plan things ahead of time. So from very early on, I knew this would be something I would have to decide on whether or not to address when I’d finally decided to expand TUT from just a prologue into a full-blown story. And after contemplating it, I decided against adding children into the story. It is because 1) it would make the situation more complicated, and 2) it would take TUT in a different direction that wouldn’t be fun for me to write.

I’m a very decisive writer, meaning when I make my mind up about something, chances are I won’t change my mind. This is because I would have already planned it into my plot outline, which means changing a decision would require me to change other details in the other chapters I have planned for that story. (I’m typically not a spontaneous writer; I try not to write spontaneously because when you’re a writer who rotates through multiple WIPs with different characters across different genres or writing styles, you inevitably have writer’s block because you probably won’t remember all the ideas or the direction you had whenever you return back to a different WIP. To reduce this shortcoming, it helps me personally to have a plot outline. This way I can return to any WIP, read my notes and then transcribe them into legible paragraphs, find a way to transition between the story beats I have to hit for that chapter, and then eventually post the final draft to AO3 when I feel it’s ready.)

Having made a decision, I knew I had to set it up in TUT and give a “reasonable explanation in-story.” Hence, in ch2, we see:

(Excerpt I - ch2)

Basically the set-up is TUT takes place post-Bingge vs Bingmei, but between “the third or fourth book” of the hypothetical PIDW webnovel series aka before Airplane wrote the fanservicey chapters where the luckier of LBH’s wives give birth to children during the harem drama plots and the children are probably rarely, if ever, mentioned again in the story as a lot of stallion novels tend to do.

(Excerpt II - ch2)

(Excerpt III - ch2)

Contrarian Tendencies

You know the saying: Monkey see, monkey do? In my case, it’s monkey see, monkey do not do.

A little fun fact about me as a writer: if I have already seen a fanfic where someone has already written a concept or idea into their story, chances are I will just avoid it entirely in my own stories. I don’t know why this aversion exists, but I’m assuming it’s because of my counterculture hipster inclinations and an intrinsic fear of plagiarism which has been beaten into all of our skulls since adolescence. There’s nothing wrong with being inspired by other people’s works. Technically everything’s been done before in writing so, as a writer, a good rule of thumb is to always try to give it your own unique spin on things. So for me, my brain somehow interpreted this a step further. This is a reason why I try to avoid reading stories from whichever fandom my WIP is from during the writing process of updating a fic, because this is how I get influenced. Once I see an idea or interpretation from another fanfiction, it influences me to not want to write it into my own. This is a very strong unconscious impulse for me. I guess this is just the neurons in my brain’s thinking that this way, it won’t be something my readers will have read before and the story idea will come across as different or fresh, and mine. In a way this is also how I show respect for fanfiction writers in the same fandom—by being inspired to not be inspired, ha. I like to think every story in the world serves a niche audience, so seeing a diverse range of originality and interpretations in a fandom is a good thing. This is also how I feel when I am able to identify certain popular tropes or depictions or patterns in a fandom; 99% of the time, it makes me feel a compulsion to “go against the grain” or write the opposite. For example, you have no idea how long it took me to come around the idea of incorporating the fanon “A-Yuan” into TUT. However cute it is, the moment it dominated the fandom (well, “dominated” is an exaggeration; it’s more like I’ve seen enough, especially in the Original LBH/ SY | SQQ tag), my gut reaction was to nope out of using it. But after seeing a lot of comments in my inbox with readers affectionately calling SY “A-Yuan,” I’d contemplated it for a long time and it wasn’t until ch4 that I decisively decided that yes, I can have Bing gē calling SY “A-Yuan” in TUT—but it has to be at the right moment for maximum dramatic and emotional impact. (See this thread that started it all. And this is the small sneak peek I wrote where LBH will call SY that for the first time.) <- This is the rare 1% where I actually conformed to what’s popular.

In this case, when I finally decided to expand the prologue into a full-blown story, coincidentally I had just recently read a good Binggeyuan (Bingyuan) fanfic which featured a kidnapped Shen Yuan interacting with Bing gē’s harem and LBH’s children/descendants. I’d liked their portrayal and even thought the children were cute. <- However, with me having reading this, the problem came up: I felt the familiar stubbornness in me rearing its head. So knowing myself, if I had included children, it is very likely the direction that I would have gone down for TUT would have been the opposite. To further complicate matters, you have to keep in mind the kind of writer I am. I tend to like grounding stories with a semblance of realism, no matter if the genre is pseudohistorical fantasy, romance, sci-fi, etc. And this writer has seen and read quite a few harem and palace intrigue Chinese dramas/ premises.

For further context, in those types of “historical” C-dramas^, in that sort of environment which fosters scheming, competition, jealousy, etc, it is almost expected to see heirs aka children aka descendants harmed along with the women. Innocent parties are often victims in these sorts of cutthroat premises, to underscore the underlying message the show or novel wishes to present. (See Ruyi’s Royal Love in the Palace. See Yanxi Palace. See The Legend of Haolan. See Nirvana in Fire. See The Rebirth of the Malicious Empress of Military Lineage. Etc.) And me being me, this would be the direction I would take. Remember, while TUT is meant to emulate a legitimate danmei C-novel reading experience in a fantasy world, I do drop pseudohistorical and cultural Easter eggs into the story. So trust me when I say you would not like the direction TUT would have gone down in, had I made LBH have children with his harem. I mean, theoretically yes, we could’ve seen endearing children characters from me, but you would have also seen me addressing a lot of the baggage that comes with (see Comment III Excerpt down below).

The situation with dissolving Bing gē’s harem is already complicated enough. As his romance with Shen Yuan develops, I didn’t want to have an additional headache thinking about how to address the issue of LBH having children already. Divorces in a pseudohistorical context is already a heavy topic—even more so when it’s divorces with children in the mix. Naturally I will still have SY and LBH eventually discuss the matter of legitimate heirs since LBH will essentially become the Sacred Ruler of all Three Realms and it’s a traditional precedent for an emperor to bed his empress, noble consort, and imperial concubines until he has his heirs (plural, because the rate of mortality was high in ancient China). In TUT’s case, at that point in the story SY will remind LBH that he’s essentially an immortal sovereign so there isn’t any need for an heir unless he wishes to retire. Furthermore, he will inform LBH that he could set a new precedent since he’s already different from the other emperors from history (with him being of half-Heavenly Demon and half-human cultivator lineage); as long as LBH is fully aware of all perspectives of the situation, he doesn’t necessarily need to conform to all traditions if this is something he really feels strongly about. But this future conversation(s) is likely the extent of it.

But wait, you say, what about a certain someone who’s going to be transmigrated as an imperial crown prince? Isn’t he going to be in that sort of vicious upbringing? <- Yes. But that’s an entirely seperate matter. In a way, since I’ve decided Bing gē will not have had any children or descendants in TUT, with Airplane, this now presents an opportunity for me to show the consequences of being one of the many children of an emperor with a harem of women vying for one man’s attention—and the power struggle that’d ensue in this kind of environment. It’s an interesting What-If parallel, if you think about it.

AO3 Comments

Although these are just small excerpts from replies I’ve written before, it’s nice and orderly to just compile them here for everyone since these will be buried underneath all the comments as TUT updates:

(Comment I- ch3)

(Comment II- ch4)

(Comment III- ch4)

Because of seeing comments that have asked me for my thoughts on whether or not I will include LBH’s children, I’ve had so much fun seeing theories thrown around: from LBH’s blood parasites being able to control conception, to someone’s headcanon about LBH being a hybrid and all that entails scientifically (think: mules). I will say in TUT, it’s more the former since in PIDW he’s supposed to have descendants; we’re pretending Bing gē doesn’t have any yet (and now definitely won’t, especially after having heard SY’s “prophecy”) because he subconsciously does not want children due to certain fears, trauma, etc. And his Heavenly Demon’s “blood parasites” (blood manipulation) is a convenient story device to explain why no wife has gotten pregnant yet.

I hope this explanation makes sense! Mainly I just wanted to have this archived on tumblr so that I have this post to refer to moving forward.

On a side note: especially since ch4 had been posted, quite a few people have actually mentioned they’ve read my replies to other comments and/or I have seen different people having hopped onto other readers’ comment threads (for example, imagine my pleasant surprise when I saw a reader you lovely person, you helpfully jumping in to respond to another reader’s questions about TUT, and their answers were actually aligned with what I would’ve answered!), so it’s always such a thrill whenever I see this level of engagement happening. I can’t explain why, but seeing this happening is just so cute to me. It really makes this writer feel so warm and fuzzy inside!

[maddiviner]

It’s time for some juicy cryptid gossip!

Everyone has heard of Bigfoot, but what is it, really? A flesh and blood ape, or something even weirder? Today, we’ll be looking at Bigfoot and related concepts.

I wanted to interview Bigfoot himself, but ultimately decided it would be easier and less dangerous just to interview noted Fortean author Josh Cutchin.

Cutchin’s new two-part book series, Where the Footprints End focuses on Bigfoot and some of the weirder phenomena that tend to pop up surrounding this strange and hypothetical critter. This interview features discussion of Bigfoot as well as other interesting phenomena, usually known under the collective heading of High Strangeness...

Eliza: “There’s a lot of people who read my blog and other esoteric sites who really want to experience High Strangeness. There’s running jokes about going out into the forest wearing a red coat and picking berries in mysterious areas, in an attempt to encounter something. Mostly, this is just a joke, but a few people are quite serious about wanting to experience an encounter. Do you believe it is possible (or advisable) to go looking for that kind of encounter?”

Josh Cutchin: “It’s absolutely possible to seek these things out, and probably easier than a lot of us imagine. There are a few different approaches, mostly seeking out locales or altered states of consciousness. A good week’s worth of overnight stays at any ‘haunted’ location will probably yield some good stories, at the very least… then there’re occult disciplines, which I won’t delve into, that seem to have pretty striking results. While not necessarily endorsing it, a healthy dose of psychedelics will induce an altered state of consciousness as well, one which may have residual paranormal effects beyond whatever you encounter on your ‘trip.’

Advisable? That’s another topic entirely. Jeff Ritzmann—who sadly passed away a few days ago—had a method he viewed as successful for contacting the paranormal, but also highly volatile. On its simplest level, his technique involved meditating in any semi-isolated location (you can learn more from his November 2017 interview on Greg Bishop’s Radio Misterioso). Jeff always stressed two things: one, that the contact would come in whatever form you didn’t expect; and two, that this Other, whatever it is, wants that which is stable in your life, that which you value, and you should be prepared to lose relationships, finances, even loved ones.

It’s a sobering proposition.”

Eliza: “In the book, you talk about lures for Bigfoot. You mention that some people leave out gifts for him, often with disastrous consequences. As you mention in many of your books (A Trojan Feast, Thieves in the Night), giving gifts to these sort of entities seems to have a lot of significance and unintended results. What do you think is the root of the gifting fascination with these critters, regardless of what they are?”

Josh Cutchin: “If I had to hazard a guess, it all ties back to man’s earliest attempts to appeal to divine intervention, of burnt offerings and sacrifices. Offering consumables—food, drink, tobacco, et cetera—is a universally-held means of breaching whatever barrier separates us from the gods, the dead, and the spirit world. A direct line of belief can be traced from these older practices to things all of us do, even those not involved in the paranormal… take, for example, leaving cookies out for Santa Claus, or ‘pouring one out’ for a dead friend.”

Eliza: “Do you think that the various phenomenon described in your book, from the classical Bigfoot sightings, to the strange lights, and voices heard in the wilderness could all have the same cause? Or, do you hold the view that we’re dealing with different things that coincide?”

Josh Cutchin: “Some days, I think these topics are separate but overlap in significant ways. Others, I’m convinced they’re all the same thing, wearing different masks. My coauthor Timothy Renner said it elegantly: ‘Bigfoot may be the rarest and most sophisticated version of whatever this phenomenon is.’ I might take that one step further and posit anomalous lights—which are found in every paranormal topic—are the most common, simplest version of whatever the phenomenon is. Truth be told, that may be as close to ‘an answer’ as we get.”

Eliza: “From your books, I learned the difference between the usual “flesh and blood hypothesis” (F&BH) about Bigfoot, versus other perspectives. For readers who are unaware, there’s something of a debate whether Bigfoot is a physical animal, or… something else. Throughout both book, though, I couldn’t help but feel that you believe the evidence points away from F&BH. Would that be accurate to say?”

Josh Cutchin: “I’ve often said that every other discipline of paranormal study has ‘Bigfoot Envy,’ that there is more physical evidence for the existence of bigfoot than anything else in the paranormal. We have immaculately detailed footprints, alleged hair, blood, even droppings. All of it points firmly to a large, undiscovered primate…

… until you start listening to eyewitness accounts. Not every time, but certainly a lot of times there are anomalies that cannot be accounted for from a Materialist/Physicalist perspective, no matter how hard one works backwards from their preferred conclusion. Even some cases cryptozoologists like to cite as supporting the F&BH (like the Fred Beck ‘Ape Canyon’ events) contain outliers like poltergeist activity, abruptly ending trackways, et cetera. The supernatural seems at odds with the physical evidence until one considers that things like psi effects and ghosts—two phenomena we would all agree, if they exist, are intangible—can leave physical changes on our world.

If bigfoot are indeed flesh-and-blood creatures, they are, as Timothy says, ‘masters of evolution,’ with several abilities no other creature on Earth possesses!”

Eliza: “I enjoyed reading the accounts in the second volume of Where the Footprints End, but found much of it unsettling. Do you think that fear is a normal human reaction to High Strangeness, or something more related to existing societal views? I ask this because there’s been some debate amongst my friends about this. Also, many of my readers pride themselves in being comfortable with all kinds of strange things, but that might not well be the initial reaction in many cases.”

Josh Cutchin: “I think it’s probably like swimming with sharks. It’s natural to be terrified of one. Doesn’t mean it’ll harm you (though it certainly could). It’s a natural reaction, and it exists for a reason, for self-preservation. Over time you can desensitize yourself from that fear, maybe even handle the darn things… but there’s always a risk it could hurt or kill you.

I think the shark metaphor is apt, because—while there are undoubtedly a lot of evilly-aligned forces out there—I think most paranormal things are neutral, maybe even disinterested in us, but dangerous by nature. Like sharks!”

Eliza: “Can you imagine a time, in the the future, perhaps, when these sort of things are, in fact, understood by humanity? Do you think we’ll ever figure it out, so to speak? Someday, will Bigfoot and other High Strangeness phenomenon be explainable? Or, perhaps, are these things always going to elude us in their exact nature?

Josh Cutchin: “I think there’s the chance they’ll be accepted, but never understood. I think we’re already on the road to accepting the existence of the paranormal (or, should I more accurately say, re-accepting, since we obviously respected them in our past). But I think the ‘understanding’ part is why they’ve always seemed mysterious, and I think that may well be the part. The paranormal is a birthright for every human being, and an important component of our existence… but we were never meant to understand it. Not in the plane of existence, at least.”

Thanks so much for this interview, Josh! Your work is thought-provoking and as fascinating as it is unsettling!

I think I speak for everyone when I say that this interview helped me to understand High Strangeness and how it relates to other paranormal topics. If you’ve got an interest in the paranormal or High Strangeness, I definitely recommend checking out Cutchin’s books here.

Both volumes of Where the Footprints End are now available in ebook and print. Cutchin has also written books on other, non-Bigfoot aspects of these phenomena. These include Thieves in the Night, a look at supernatural abduction legends, Trojan Feast (about food in High Strangeness encounters) and The Brimstone Deceit (focused on scents and the paranormal).

So, thoughts, everyone? Have you experienced High Strangeness in your lifetime? Do you WANT to experience it? Does it frighten you? My views are mixed...

[sheepfulsheepyardinspace]

Do you have any Star Wars fanfic recommendations, or have a link to someone else's list? I really wanna veg out.

oh my god, DO I. this may have been the best ask in the world. i’m not really sure what u want a feel for, so i threw together some of my favorite longfics for maximum veg time from the ot/pt and links for swr and swtcw recs. they’re pretty much all luke-anakin/vader centric, since that’s kinda my bread and butter.

let’s start with frodogenic, who wrote the first longfic i ever read in sw and might be one of the funniest authors ever. they once reviewed my fanfic & i nearly cried from joy. anyway. 

The Father, 284k+, complete. “Ten years after ROTS, tormenting nightmares of his unborn child drive Darth Vader to extraordinary measures with unexpectedly drastic consequences. Clearly, experience has taught Darth Vader nothing...” 

this is my og star wars fic and boy oh boy is it amazing. i will never get over this. i don’t want to spoil anything but when i say the final chapters are great? i mean they’re legendary. sometimes i still think about them & wish upon a star that i could be such a great writer. vader’s amazing, han is spectacular, and the ocs are fantastic.

Far More Than Rubies, 70k+, complete. “Nine years after AOTC, tragedy revisits the Lars Homestead. Little Luke Skywalker is suddenly plunged into chaos as the rebel movements discover a secret military project that may make a crucial difference in the war with the Empire.”

the spiritual twin of The Father, FMTR takes a look at padmé’s character and relationship with both luke and anakin/vader that’s hard to beat. it’s darker and heavier than The Father, but it hits those same sweet, sweet emotional beats while raising the age-old question: if padmé had lived, what would she have done?

The Family Tree, 12k, complete. “In which Luke Skywalker is stranded in a tree waiting for a flash flood to recede. Too bad he's got company...”

okay, i admit, this isn’t a longfic, but it is a longshot, and it’s amazing. the imagery and description always blow me away, and the interaction (canon-compliant) between luke and vader just [chef’s kiss] get me. vader’s in full, glorious form, and it makes it all the harder when luke wrestles with the knowledge that vader is his father.

Sibling Revelry, 25k, complete. “After Bespin and before Endor, Darth Vader is shocked to discover that Luke and Leia are twins. He's even more shocked when Imperial Intelligence reports that Organa and Skywalker are, erm, a tad closer than previously suspected.”

this is complete crack and humor in the best way possible. it’s crack treated entirely seriously, and you will be in stitches, i promise. no matter how many times i’ve read this i break down.

KittandChips (@kittandchips) writes what i can only describe as food for the soul. the luke-vader interaction is insanely amazing, the world building of daily imperial life and imperial governance is amazing, and vader just has a special je ne sais quoi that u must read to understand––tragic, funny, and so, so fatherly. they’re currently rewriting the Force Bond Series to fit in with newer canon, so i will joyously binge reread the entire again (including the new Force Bond: Mustafar Weekend).

Force Bond 1: Orphan, 47k, complete. “After Owen and Beru are killed by a mysterious stranger, young Luke ends up as an orphan on Coruscant. It's a race against time as Obi-Wan struggles to find Luke before Vader realizes the boy is his son.”

Orphan kicks off the series, which tracks vader and luke’s relationship through the perils of luke’s teenagerhood while growing up under the eye of the emperor and imperial court. it’s filled with slow growth, struggle and misunderstandings as darth vader tries to single parent, and pay off in every installment. the entire series clocks in around 777k+ and is the most joyful, fulfilling reading you’ll ever have. promise.

darth-nickels (@darth--nickels) writes darker, twistier, and terribly, terribly heartwrenching aus. they’ve got a whole host, but let me introduce to my two favorites. also, check out their faux-academia on vader. it’s amazing and i love it, but i admit i am an academia hoe.

Dooku Captured, Pt 2, 16k, complete. “Dooku is taken alive onboard the Invisible Hand, and Sidious' web is torn. The Sith Lord wonders if death might have been preferable to clumsy interrogation by Anakin Skywalker.”

Dooku Captured is a longshot au told from Dooku’s pov which takes the beginning of ROTS and throws it on its head. it’s a fascinating outside perspective of anakin and obi-wan’s relationship and such and interesting examination of dooku’s psyche and especially his complex relationship with the jedi order, qui-gon, yoda, and palpatine. i cannot rec this one enough.

Black Mirror, 90k, incomplete. “The Ghost crew returns to the Lothal when they hear the Empire is investigating the Jedi Temple there. They learn Vader is alone and decide to take him out-- but what they find could change the course of Galactic history.”

Black Mirror diverges into swr territory, but make no mistake: this is entirely an examination of vader and, later, obi-wan as well as ahsoka. luke makes his appearance later in the game, and boy oh boy will you love luke’s portrayal is a microcosm of luke and vader’s relationship within canon. heed the tags, though.

jerseydevious ( @jerseydevious ) is, first and foremost, one of my favorite people on earth. secondly, though, she’s an amazing writer with a deep understanding of vader’s character and psyche, a flair for beautiful depictions, and the true ability to wring every emotion out of your body.

Two and a Half Men (with a baby), 13k, incomplete. “After a long day of bargaining with Hutts and attempting to ignore his past, Darth Vader is nearing the end of his rope. When he discovers his two-year-old son, it's the straw that breaks the semi-rational Sith Lord's back; in a rash act worthy of the Skywalker name, he scoops his son into his arms, steals a shuttle from his own fleet, and punches in random hyperspace coordinates to a destination on the other side of the galaxy. Unfortunately, father and son are not the only ones on the ship.”

Two and a Half Men will stick with you, dude. like no other. i promise. it’s a whirlwind ride with obi-wan, vader, and piett and as funny as it is heartbreaking. it touches on some heavy issues and doesn’t shy away from looking at the damage done to vader––again, heed the tags.

Helioseismology, 4k, complete. “Luke gets shot down on a supply run and caught in an ice storm. It's extremely lucky that his father followed him there.“

i’ll admit. im completely biased about this one because it was a birthday gift to me and i am sucker for litcherally anything when jd puts pen to paper, but believe me when i say you will be awed by the depth and tangled relationships between these luke and vader that jersey can illustrate in a stroke of the paintbrush. im love. always.

izzythehutt ( @izzythehutt ) i am blown away by the intricate dialogue and characterization, always. and the latin puns? im sold. im also a sucker for latin puns, but that’s a story for a different time.

In Loco Pirates, 34k, complete. “A down-on-his-luck Hondo Ohnaka manages to capture the unicorn of all bounties--Luke Skywalker, which sends Darth Vader, Lord of the Sith, on a painfully familiar trip to the planet Florrum to collect his prize. The failed negotiations leave Vader in the awkward position of being stuck in a besieged pirate bunker, trying to balance keeping his wayward child safe (and in his custody) with controlling the tongue of a loose-lipped pirate who--to the surprise of no one--has a bad habit of telling 'amusing' anecdotes from the Clone Wars.”

hondo, aka the best character of swtcw, is brought to life just as vividly on paper as on screen. his entire personality brings luke and vader’s difficulties in a sort of incredulous light, which makes it as funny as it is vulnerable and tragic. the sequel, Palpatine Ad Portas, brings piett into the spotlight, and oh man do his interactions with palpatine and vader bring u all the uncomfortable vibes. relish in it.

sparklight ( @littlesparklight ) man. lemme introduce u to an amazing prolific and detailed writer. i will never get over the series they’ve written & neither will u.

Where Our Intrepid Hero Doesn’t Get Away, 122k, incomplete. “One-shots surrounding either AU situations of canon/legends works where Luke would normally have gotten away (or Vader is simply inserted into the action to come pick his child up) but in these instances doesn't, or completely new scenarios of the same. There are no deep ruminations on consequences of the situations here, just our awful Sith dad picking his son up when he'd rather not be.”

exactly what it says on the tin. u know those glorious moments of fanfic where luke’s gotten captured and ur on pins and needles, waiting for vader to show up in a moment of dark glory? here’s the moment. here’s all the moments.

Space Race, 122k, incomplete. “Owen gives in to Luke's wish to attend the Imperial Academy and Obi-Wan is too late to avert it, though he's not too late to make sure Luke leaves Arkanis before Vader can gets his hands on him. Luke spends over a month running around the galaxy before his father gets him, and from there...”

this story relishes in chase and boy is it fun. it will keep you on the edge of your seat and it’s an amazing ride.

The Suns of Tatooine, 85k, complete. “Luke ends up on a moon swamped in dark side energy after a mission goes wrong, then his father appears... and then they go on a bit of a learning experience. This could've been the only thing that would come of getting through a Sith complex with his father, but thanks to going to free Han earlier than the gang did otherwise, more revelations are had. Will that change anything?”

this series is a thoughtful, contemplative piece examining the nature of the force and the relationship the skywalkers have with tatooine. the descriptions are beautiful, the inventiveness is amazing, and you’ll be thinking about it for long afterwards.

an additional few…

Between Flight and Longing; 34k, complete. “Luke Skywalker and Han Solo journey to the planet Balen'ar on a desperate mission and find more than they'd bargained for.”

a classic and it is for a reason. the interaction between han, luke, and vader is so spectacular and the slow trudge of going through the forest with your greatest enemy and best friend is something hilarious. the end is bittersweet and fantastic.

The Sith Who Brought Life Day, 13k, complete. “An Imperial officer loses a bet and has to get Darth Vader a present for Life Day.”

somewhere between terrifying and dull, this fic presents a canon-compliant look at the hunt for luke and the grinding wheels of the empire. the oc is amazing and it echoes in true star wars spirit: sometimes it’s just some dude who can change the galaxy.

Quintessence, 5k, complete. ‘“Well, Master, I think I’ve found the one positive aspect of this situation.” “Which is?” “The Temple won’t have to pay the costs for our funeral pyres.”’

pure hilarity and shenanigans abound in pre-aotc obi-wan and anakin hijink goodness. lemme tell u––u will deeply sympathize with mace windu afterwards. additionally, check out the rest of the author’s oneshots! they’re deeply thoughtful and the interactions the author writes between obi-wan and anakin are always gold.

some extras & shameless self-promotion

here’s a full list of recommendations for star wars rebels fanfic in case this is what you’re looking for (remember when this used to be a swr blog, lmao)

i’ve also written sw fanfic, both swr and luke-vader centric. drop by and tell me if it’s any good!

[solange-lol]

hiii in celebration of AUctober, what are some of your fav solangelo AUs?

Anonymous said to solange-lol:

Hi! Kinda a random question: do you have any favorite riordanverse fanfics that you’d suggest reading? I’m looking for ones to read, but I’ve been having trouble finding new ones! Thanks!

rec list #1 | rec list #2

all recs can be found under the tag ‘lizs solangelo fic recs’ on my blog!

technically its past auctober now, but better late then never to drop my third solangelo rec list!! especially considering the state of the world rn ... lets just say its a celebration of me actually participating in sw for the first time in a while

rec under cut as always!! its not all aus but its the count that thots

Find Another Place to Stay by @unwieldyink

personally i think breakup fics are incredibly underrated, and i also think annie is incredibly underrated, so enjoy ur little cry if you read this one (tw // violence in this one)

Hershey’s kiss by @unwieldyink

we love a godswap!! it’s actually been a while since ive read this one and i reread this while making this rec list and can i just say that zeus!nico and hermes!will are both such valid concepts and this just has a rly good dynamic to it

Actors by @buoyantsaturn

i could talk about this fic for hours but lets just say ao3 has told me ive visted this fic 40 times. im not kidding. fake dating is just a godtier trope

start of something new by jinniefic

if you know me, you know that i fricken LOVE high school musical, and this is literally just the start of the first movie but solangelo and honestly a little more iconic please read even if ur not a hsm fan

paper/plastic by @rosyredlipstick

the fact that this is from 2018 and took this long to get into my rec list is tragic because i think about this fic a lot... a lot. mortal au. very chill, strangers to lovers, very good vibes, will be rereading soon (everything rosy writes is amazing we already knew this)

10:37pm by @buoyantsaturn

surprise another cj fic! fun fact she debated with us for a good half hour about what to title this fic so go read it so you can tell her you like the name (and the fic itself... its a very good fic) (tw // alchohol and drug use for this one)

Sunflower by ChiseHatori

3 days in the infirmary is probably the easiest trope u can find in the solangelo tag but i have to say this one really made me soft just bc it feels a lot more in character than some of the others ive read, and it basically picks up right where they ended in the books

Will You, or Will You Not? by @thebluesideofmyworld

marriage fics... also very soft. just boys bein boys. dual engagements. mortal au. all that good stuff vv soft i loved it

let your heart win by @justanothervampiregirl

this one is short but its also probably one of the most in character fics ive ever read and i really like this style of writing mixed with canon compliance so :)

The Magic of Naomi Solace by Sweetymomo

naomi solace, underratted legend. i aspire to have her relationship with will. lots of familial background if you like that!! and its set at a bnb!!

forget all the shooting stars and silver moons by itotallyreadthatbook

when i saw this in the tag i was SO excited bc we love high school aus here and it was!! very good indeed!! this trope is one ive never seen before and i recommend 10/10 good banter

They won’t always live by Phantomxlegend

will overworking himself and coping with loss always makes me :(( so if ur okay with some will angst then buckle up

“I am fully capable of kicking your ass” by @unwieldyink

i remember i saw the email notification for this one and immediately was like yup absolutely im in and it 100% lives up to its title we love capture the flag solangelo

the night we met by peachyytomlinson

a lil ooc but also very angsty and did make me emotional when i read this late at night. i think i wrote something similar a while back but i just aaaaa will angst man

“look how hard i can cry FWSHHH”  by @buoyantsaturn

call me biased bc i like to claim that i originated the idea of demeter!will and cj dedicated this fic to me but like BRO its so soft and i love it here nico leave the plants along challenge failed

femboy hooters, or the time percy jackson failed to keep a secret by luciethebean

its all fun and games until the fic turns out to genuinely be really good. like, yes the title is exactly what you think it is but it doesnt matter bc its so fricken well written im^@*#&(*)($_$#&^@$(@*)* yeah

Of Ties and Significant Annoyances by seokjinvilla (@thechampagnecocainegasoline)

we dont support jkr in this household but what we do support is this bc this plot is genius and i love it

everything’s going swimmingly by tsunamiroll (@catboy-ethan)

fun fact i posed the idea of a sports/team prompt to the sw mod crew literally just so someone would pull through and write a swim au and ethan DID without even knowing. i love them and their writing style is so !!!! please read it

when you smile (the whole world stops) by tsunamiroll (@catboy-ethan)

another ethan fic!! this is the perfect fic for a rough day where u just want some cuddles bc thats literally the plot of the fic. i love this one with my entire heart its very fluffy 10/10 do reccomend

pumpkin spice (i hate it, it's not nice) (ok maybe it's a little nice) by tsunamiroll (@catboy-ethan)

ethan fic part 3!! bc i binge read these all in one night!! literally again their writing style is so amazing and the witty banter!!!! also we love a retail bookstore au 

Burnt Plastic (and Other Bad Ideas) by More_of_This

so this one isnt exactly romantically solangelo but it is hilarious in my opinion and i absolutely adore well written college aus and while i know nothing about college this fic is so funny to me (if you read the tags there is, in fact, a raccoon involved) (tw // drinking for this one)

all because you kissed me goodnight by @buoyantsaturn

i have been WAITING for a mortal counselors au and im sure theres some out there already but y’all already know im a cj stan! lots of slowburn, friends to lovers, coworkers, all the good stuff (and i named this one and offered cj a lot of materials from my own camp so this one especially hits!! i reccomend for those good ol summer vibes!!) (tw // drinking for this one)

Waiting With You by @buoyantsaturn

oh boy buckle up if u want an angst ride because this fic tore me apart. i keep threatning cj with “dont pull another waiting with you”. that being said, very much feels like a movie while youre reading it, very fluffy in the middle, we love mutual pining. 

Little Italian Boy by @buoyantsaturn

stream little italian boy by grace gilmore. youll get it. thats it.

The Clues by @thebluesideofmyworld

secret dating when done well is legit one of my favorite tropes of all time and this!!! this!!!!!!!!! its outsiders perspective also which is another one of my favorite tropes, and just little views on nicos life and i love it

So Come On, Talk it Out (your voice brought me back from the dead) by @buoyantsaturn

will solace, sponsered by kitkats, cj edition

no but if you read tower of nero you’ll really like this missing pieces pre-ton fic this is a really soft little fic with a bunch of easter eggs from the book in it, so i highly recommend! if you havent read ton yet and are still avoiding spoilers, come back to this one!

reaching for the sun (you, you, you) by moonswords (@tortadelimao)

i just read this one about 2 hours ago for the first time and i am Still thinking about it. its like the getting together that i literally feel like is canon and the vibes are Immaculate (also william “what about me looks straight” solace)

“Are we on a date right now?” by @unwieldyink

overworked will, nico helping out in the infirmary, first dates & hikes, canon compliant, we love to see it (also its an annie fic so ur required by law to read it)

Outrunning karma by Phantomxlgend 

more will angst! featuring angry overworked will!

Everlasting Ring by minyoongurt (@blueblackslowtown)

i was Very excited when i read the summary of this one, and i think minyoongurt did a really good job!! healer will, injured nico, the whole dynamic. also i love the idea of nico only knowing “thank you” “go away” and “fuck you” in sign language. im pretty sure thats canon

The Little Thing by Rainbow_Mess

i belive this is also a pre-toa fic thats just exploring all the stuff we found out about will in ton and its very short and sweet :)

and of course, a few of my recent works for your consideration

who is he (and what is he to you?)

just doing my silly little tasks

i don’t need three bars to tell me we’re meant to connect

truly, madly, deeply