#NO ONE has any nuance it started out 'a bear is obviously better' and now I keep seeing rebuttal takes that 'the man is obviously

[mybrainisalibrary]

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[system-architect]

ok here's my collected JW thoughts in general. obviously this is spoilers

OK.................................... so i think anet is Back. its not quite "we are SO back" levels but it COULD be "we are SO back" levels depending on what they do in the next installment

they did good, though, and i think the most obvious jump in quality is actually in the maps themselves. they feel so much better than soto maps just to run around in and explore. theres a LOT more detail and they actually feel pretty intriguing and immersive with a lot of fun easter eggs and surprises!

the story didnt always hit for me but it was still overall Better than soto. the first instance alone grabbed me more than all of soto had tbh. the bears don't personally interest me but the mursaat do, and we're getting somewhere with all the bloodstone and titan stuff

i DO enjoy the angle of the commander starting to go kind of lie-lie man acting in personal interests. isgarren is a bitch but we can also be rude to waiting sorrow for no reason oops sorry nice again haha oh man how'd this bear teleport here that's craaazy.. there were points at which i actively lost track of who we had lied to about what and when, and while the confusion grated me a bit it was also funny in a way? like yeah if i was the commander i'd lose track of this shit too right

the commander doesn't have much of a personality technically, beyond "person who does good(TM) things", and what we make of our canon commander's personality is mostly just our own notions and conceptions and interpretations being placed on them, BUT that said it felt like the story did take the commander in some interesting directions for me.

i felt like i got the sense that the commander really is sort of a "free agent" now, which is fun. when you've already killed all the dragons and your life's purpose is TECHNICALLLLYYY over but you're still around and you're still many things to many people, what do you do with your life? this, apparently.

i like us being kind of a mirror of isgarren in the sense that the comm is an ultra powerful guy, with a lot of worldly+scholarly experience at this point, who a lot of other very powerful figures respect and Need, but that not everyone necessarily Likes. yeah this is our free-range deployable killing machine politician who's kind of strange interpersonally.

my favorite instance in the whole story was the one with the bloodstone ghosts btw. i thought they did a really good job imbuing each with a fair amount of personality and showcasing a wide array of perspectives on what happened in gavril-- a thing which i was prepared to not be particularly interested in tbh, and yet...

ALSO, the voice actor for the gavril citizen ghost was SUPER good! i'm pretty sure they were a new VA but i'd really love to hear more voicework from them. in general i felt a lot of the VA work in this xpac banged-- it feels like they got a decent amount of new/fresh talent?? it's been nice, i hadn't realized how stale the world was starting to feel only hearing the same 3-5 voices constantly (no shade towards the longer-standing VAs who DO do a good job, i just wished for more variety)

REALLY liking the amount of unique voice lines and racial dialogue also

features wise its also been pretty good! i like the repeat renown heart thing plus the return of the hearts. as a revenant with a condi set i cant say ive got any issues with the spears LOL. and warclaw is super fun once you get the hang of it-- i like that it has a learning curve and some nuance like most older mounts do, as opposed to skyscale's fairly 'flat' mobility. have NOT really tried out decorating my homestead yet and ive heard mixed opinions on it, so we'll see how i feel there!

[thimbil]

Having some thoughts about the references and inspirations used for the Bad Batch’s designs.

So Boba Fett is my absolute favorite character and Temeura Morrison was perfect casting. I went to see the 2008 TCW movie in theaters because I was so excited to see him again, even if he was animated. You can imagine my disappointment. Whoever was on screen was not Temeura Morrison. You could sort of see a resemblance if you squinted and didn’t think too hard about it. They replaced Temeura with Racially Ambiguous G.I. Joe. If I didn’t know better and someone told me the animated clones are space Italians from the moon of New Jersey I would buy it. One Million Brothers Pizzeria and Italian Bistro. Not that there’s something wrong with being space Italian, I just don’t think it’s the right choice for the Fetts. The design got slightly improved by season 7 but it still bugs the hell out of me.

I did eventually get into the show later and (of course) got invested in the clones. Unfortunately, they were largely sidelined by the Jedi storylines. Out of the two new main characters created for TCW, Ahsoka definitely got more development and focus than Rex. When they announced The Bad Batch, I was excited to see a show specifically devoted to the clones… at least that’s what it said on the tin. We have all seen what lurks beneath those stylish helmets.

Jango Fett, you are NOT the father.

So who is?

Based on interviews with Filoni, it sounds like the Bad Batch was a George Lucas idea. And like all his ideas, it’s super derivative. The original trilogy directly lifted elements from sci fi serials, westerns, and samurai movies, more specifically Kurosawa films like The Hidden Fortress. For The Bad Batch character designs, the influence is obviously American action and adventure movies.

Now let’s get specific. Bad Batch, who’s your daddy?

Hunter

Sylvester Stallone as Rambo in First Blood 1982. That bandana has become an integral part of the iconic action hero look. You see a character wearing one and it’s a visual shorthand for either “this character is a tough guy” like Billy played by Sonny Landham in Predator 1987, or “this character thinks he is/wants to be a tough guy” like Brand played by Josh Brolin in The Goonies 1985 or Edward Frog played by Corey Feldman in The Lost Boys 1987.

Hunter’s model is closest to the original clone base. If you look closely you will see the eyebrows are straighter with a much lower angle to the arch. His nose is also not the same shape as a standard clone like Rex, including a narrower bridge. It’s certainly not Temeura Morrison’s nose. Remember what I said about space Italians? It didn’t take much to push the existing clone design to resemble an specific Italian man instead of a specific Māori man. The 23&Me came back, and Hunter inherited more than the bandana from Sylvester.

Crosshair

The long narrow nose, the sharp cheekbones, the scowl. That’s no clone, that’s just animated Clint Eastwood. Not even Young and Hot Clint Eastwood from Rawhide 1959-1965. With that hair, I’m talking Gran Torino 2008. The man of few words schtick and family friendly toothpick in lieu of cigar are pure Eastwood as The Man With No Name from Sergio Leone’s spaghetti westerns A Fist Full of Dollars 1964, For a Few Dollars More 1965, and The Good the Bad and the Ugly 1966.

In a way, this is full circle because the actor Jeremy Bulloch took inspiration from Clint Eastwood for his performance as Boba Fett in ESB.

Wrecker

In an interview Filoni lists the Hulk as an (obvious) inspiration for Wrecker. Ever seen the old Hulk tv show from 1978? Well take a look at the actor who played him, Lou Ferrigno. Would you look at that. Even has his papa’s nose.

You could make the argument that Wrecker was influenced by The Rock, an appropriately buff ‘n bald Polynesian (Samoan, not Maori) man. But look at him next his Fast and Furious costar Vin Diesel and tell me which one resembles Wrecker’s character model more.

Tech

Tech is a little trickier for me to place. If he has a more direct inspiration it must be something I haven’t seen. That said, his hairline is very Bruce Willis as John McClane in Die Hard 1988. His quippiness and large glasses remind me of Shane Black as Hawkins from Predator 1987. In terms of his face, he looks a but like the result of McClane and Hawkins deciding to settle down and start a family. Although, Tech’s biggest contributors are probably just everyone on TV Trope’s list for Smart People Wear Glasses.

And finally,

Echo

Oh Echo. Considering he wasn’t created for the Bad Batch, he probably wasn’t based on a particular character or movie. But if I had to guess, his situation and appearance remind me a lot of Alex Murphy played by Peter Weller in Robocop 1987. However, Robocop explored the Man or Machine Identity Crisis with more nuance, depth, and dignity. Yikes.

The exact tropes and references used in The Bad Batch have been done successfully with characters who aren’t even human. Gizmo from Gremlins 2: The New Batch 1990 had a brief stint with the Rambo bandana. I could have picked any number of characters for Defining Feature Is Glasses but here is the most cursed version of Simon of Alvin and the Chipmunks. Suffer as I have. Marc Antony with his beloved Pussyfoot from Looney Tunes has the same tough guy with a soft center vibe as Wrecker and his Lula (also a kind of cat). Hell, in the same show we have Cad Bane sharing Cowboy Clint Eastwood with Crosshair. I actually think Bane makes a better Eastwood which is wild considering Crosshair has Eastwood’s entire face and Bane is blue.

So we’ve established you don’t need your characters to look exactly like their inspirations to match their vibe. So why go through the trouble and cost of creating completely new character designs instead of recycling and altering assets they already had on hand? Just slap on a bandana, toothpick, goggles, and make Wrecker bigger than the others while he does a Hulk pose and you’re done. Based on the general reaction to Howzer it would have been a low effort slam dunk crowd pleaser.

But they didn’t do that.

So here’s the thing. I like the tropes used in The Bad Batch. I am a fan of action adventure movies from the 80s-90s, the sillier the better. I am part of the Bad Batch’s target audience. Considering what I know about Disney and Lucasfilm, I went in with low expectations. I genuinely don’t hate the idea of seeing references to these actors and media in The Bad Batch. I don’t think basing these characters on tropes was a bad idea. If anything it’s a solid starting point for building the characters.

The trouble is nothing got built on the foundation. The plot is directionless, the pacing is wacky, and the characters have nearly no emotional depth or defining character arcs. They just sort of exist without reacting much while the story happens around them. But I can excuse all of that. You don’t stay a fan of Star Wars as long as I have not being able to cherrypick and fill in the gaps. This show has a deeper issue that shouldn’t be ignored.

Why do the animated clones bear at best only a passing resemblance to their live action actor? In interviews, Filoni wouldn’t shut up but the technological advancements in the animation for season 7. So if they are updating things, why not try to make the clones a closer match to their source material? Why did they have to look like completely different people in The Bad Batch to be “unique”? Looking like Temeura Morrison would have no bearing on their special abilities and TCW proved you can have identical looking characters and still have them be distinct. In fact, that’s a powerful theme and the source of tragedy for the clones’ narrative overall.

Here’s Filoni’s early concept art of Crosshair, Wrecker, Tech, and Hunter. (Interesting but irrelevant: Wrecker seems to have a cog tattoo similar to Jesse’s instead of a scar. Wouldn’t it have been funny if they kept that so when they met in season 7 one if them could say something like “Hey we’re twins!” That’s a little clone humor. Just for you guys 😘)

None of these drawings look like the clones in TCW, much less Temeura Morrison. Let’s be generous. Maybe Filoni struggles with drawing a real person’s likeness, as many people do. But he had to hand this off to other artists down the line whose job specifically involves making a stylized character resemble their actor. Yet the final designs missed the mark almost as much as this initial concept. Starting to seem as if the clones looking more like Temeura Morrison was never even on the table. It wasn’t a lack of creativity, skill or technical limitations on the part of the creative team. I don’t think there is an innocent explanation. They went out of their way to make the final product exactly how we got it.

This goes beyond homage. They could have made the same pop culture references and character tropes without completely stripping Temeura Morrison from the role he originated. It was a very purposeful choice to replace him with more immediately familiar actors from established franchises and films. It wouldn’t shock me if Filoni, Lucas, and anyone else calling the shots didn’t even think hard or care enough about the decision to immediately recognize a problem. And I don’t think they believed anyone else would either. At least no one whose opinion they cared about. Those faces are comfortingly familiar and proven bankable. They are what we’re all used to seeing after all. They’re white.

Lack of imagination, bad intentions, or simple ignorance doesn’t really matter in the end. The result is the same. Call it what it is. They replaced a man of color with a bunch of white guys. That’s by the book garden variety run of the mill whitewashing. There’s no debate worth having about it. For a fanbase that loves to nitpick things like whether or not it’s in character for Han to shoot first or Jeans Guy in the Mandalorian, we sure are quick to find excuses for clones who look nothing like their template. Why is that? If you don’t see the problem, congratulations. Your ass is showing. Pull your jeans up.

[stellocchia]

I just wanted to analize the conversation between Foolish and Tommy for a bit because I’m still thinking about it

I did technically intend for this to be a short little thing with just a couple of my thoughts on it but... brevity is NOT my strong suit!

So I put everything under the cut and obviously it’s all about the characters.

You can find the conversation here at 02:52:55 and onwards

What is extremely interesting about this whole conversation is that Foolish is mostly unaware of what happened prior to him joining and about most things that happened afterwards, meaning he has as detached and objective of an opinion as you can get. For example Foolish doesn’t know almost anything about L’Manburg, as it was destroyed before he joined and he also didn’t know that Tommy went in the prison to kill Dream (which is why he asks how that went when Tommy mentions it). That paired together with the fact that Foolish has proven to be quite a good listener is probably the reason why Tommy felt so comfortable opening up with him.

“No what do you mean you fought Dream?” “Well you know... you’ve seen Wilbur haven’t you?” “No, no actually” (as I said, completely unaware, though he did seem a bit worried at the idea of Tommy fighting Dream)

“Ghostbur’s uhm... Ghostbur’s not here anymore” “Oh did he pack up? Move out? Got bored? He seems like a free spirit” “Yeah he moved out to this little train station far far away. There’s a little train station, you know? Right near the world border. There’s a little train station” “Oh that’s cool! I wanna see that sometimes" (...) “There’s a little train station out near the world border and Ghostbur went but he left Friend” “He left Friend?!” “But we’ll get Friend to him soon, ‘cause then they’ll all be happy”

Tommy’s way of explaining things to others is always so fascinating to me. It’s childish and charged with emotions, but I don’t mean this negatively, because it gets the point across better then any grand and eloquent speaches really could in my opinion. How attached he was to Ghostbur is also extremely sweet and this is simply his way of dealing with grief: trying to find a practical solution (he was suggested to Tubbo to wash up and now his solution is bringing Friend to Ghostbur), trying to find something he can do to make things better.

“How much can you take Foolish? Blood! Blood! Does that upset you?” (it’s nice seeing Tommy being mindful of other people’s triggers since not many people are mindful with his)

“All I know is I’m proving that bitch [Wilbur] wrong! Because he told me- he told me I’m weak” (another example that the manipulation did work to some extent)

“I don’t feel comfortable talking about that [his revival] with you Foolish if I’m honest” “No, fair enough!” (and Foolish repaying the favour right after)

“I don’t really se how this solves the problem” “Well it doesn’t ‘solve’ the problem, it’s preventing the problem Foolish, alright? Have you noticed that all the problems come they don’t get solved, do they? Ends up with some madman screaming ‘I solved it’ alright? And now- and then look at him, alright, now he’s taken away everyone’s favourite man: Ghostbur, alright? Problems don’t really get solved in this server”

So, for context Foolish was commenting on how gathering stone didn’t seem like a good solution for Tommy to prove to Wilbur that he wasn’t weak, but Tommy’s answer is about more then that. There isn’t much he can do at the moment, not knowing what Wilbur is planning, so the only thing he CAN do for now is what he was asked and, hopefully, prove himself to Wilbur so that he may be able to stop Wilbur from committing atrocities before he starts. Also the “madman” he’s talking about could be Dream (the one who thinks he is a God and actually killed Ghostbur) as well as Sam (the one who thought the prison was gonna be a solution to the Dream problem and who let Ghostbur die) or it could be Wilbur (who seems so self assured about being right on everything and is now the one who replaced Ghostbur), any of them fits. It is also true that, so far, every problem that seemed to have been “solved” turned out to be far from it every single time. That said, of course it should not be Tommy’s responsability to get Wilbur on the “right path” nor should he bear sole responsability for avoiding disaster once more, but, by now, he’s convinced that that’s not the truth, probably because he sees himself as far more sacrificable then those around him.

“Well, how do we go about changing that [problems not getting solved]?” “That’s what I’m doing” “By gathering stone?” “No what I’m doing my friend is preventing the problem before it gets out of hand like it did before, alright?” (again, it’s all about prevention now through getting Wilburs trust and maybe steering him in the correct path)

“L’manburg! This was mine and Wilbur’s na- it was Wilbur’s nation! It was Wilbur’s which makes it all the more heart wrenching, alright?” (referring to his talk with Wilbur about L’Manburg, which does make it more heart wrenching)

“Now we were okay- I was okay when we were banished and I knew that we’d get it back and we’d talk about it, right? As you said: ‘peace is the option’. But here’s the thing Foolish, Wilbur didn’t wanna do anymore talking, he’d given up with that, because some people aren’t strong enough, alright, some people stop talking. You know the phrase ‘treat others how you wanna be treated’ Foolish? That’s a very important phrase (...) Wilbur disregarded that rule. He decided that he wanted to be treated poorly so he’d treat everyone else poorly” “Why do you think that?” “Honestly sometimes I don’t really know myself”

So a very interesting thing that emerged from this conversation is that Tommy has a much better understanding of Wilbur then most people originally assumed and he is possibly the only person (in universe) who has picked up on the fact that all of Wilburs “villain speaches” and behaviours were nothing more then him treating others like he thought he himself deserved to be treated, like sh*t. It’s also interesting that Tommy relates the concept of strenght here once again both with the ability to stay peaceful and, this time, also the ability to communicate properly with those you care about (probably because this are both things he himself lacked when he considered himself to be at his worst, meaning in exile and later with Techno). It is also to be noted though that, while Tommy is undoubtedly the one person who understand Wilbur best, he is still not aware of how bad his spiral had gotten because Wilbur never communicated it.

“Now Wilbur, he was a good man- he IS a good man, deep inside him, alright?” “So you’re saying that there’s still redemption for him?” “Well he’s been a good man deep inside him, but he’s been a bad guy for a very very long time” (Short introduction to Tommy’s concept of “good” or “bad” in season 3. He has gotten a lot more nuanced over time realizing that the world isn’t simply black or white)

“You believe in second chances?” “No I don’t. I don’t really believe- I- that’s not a thing for me Foolish, is just that... *sigh* I believe that everyone has got a little bit of good in them. And I know that Wilbur had good in him” (A little bit more about his concept of morality, this time explaining that he doesn’t really believe in giving people a quantifiable number of “chances”, but more so in the fact that everyone has capacity for good, which also implies that everyone has capacity for bad, but he chooses to hang onto the first one for those he cares about)

“Now I just think Wilbur’s being a bad guy, and that’s okay! We’re all bad guys, everyone messes up. You learn the most from your mistakes” (he also moved on from the fear of becoming a “bad guy” now it seems by noticing that your mistakes don’t define you as a person and that they are opportunities to better yourself)

“He’s made sooo many mistakes, so many that have hurt so many people, but, what this is gonna be about isn’t giving him a second chance, isn’t giving him a third chance, is not about chances! Foolish, it’s about not giving up on the people you care about”

And this is the culmination of all the previous point. The idea of chances implies that you’re gonna give up at some point if the person doesn’t changes (which is a healthy thing to do, by the way, sometimes it’s better to cut people off when they aren’t good for you) and Tommy doesn’t believe in that. He believes that everyone has some good in them and perhaps, if you stick by them long enough, that good may shine threough. Now this is a nice concept in theory, but in reality if people wanna change it has to start from themselves (wether that be changing an opinion or needing to reach out for help) and it’s especially not a good idea to stick by someone if they are harmful to you. I’m sure no one likes Wilbur being in this example, so think what would happen if Tommy applied the same mentality to, say, Dream, someone who has hurt him more then anyone else and who considers him less then human (more like his propriety) and who’s most probably never gonna change since he never regretted anything he did: would you still think that the idea of “never give up on people if you care about them” would be a positive one? This sadly is an example of excessive selflessness on Tommy’s part that ends up being self-destructive.

“You consider yourself to be the ‘good guy’ or the ‘bad guy’?” “That really depends who you ask, doesn’t it? You know? You ask Dream he’s say I’m- he’d say I’m his little- I’m his little play- his little toy that he plays with, you know, it doesn’t- Foolish honestly I used to consider myself the ‘good guy’, the fucking second in command going around going ‘yeah let’s do this!’ but I- recently- this past- this past like six months or so Foolish everything got so much harder then it was before, but because before it was us fighting the bad guys and everything was so clear, it was all so clear! But it’s not been clear for so long”

A few things to unpack here: Tommy once again demonstrating quite a bit of awareness that he didn’t always have about Dream and how he now views him (this has been a gradual and difficult realization for him and it is still clearly hard for him to talk about it) and then explaining that things simply got more complicated then they once were (which is an important thing to keep in mind, because Wilbur missed all of that, he missed the world becoming shades of gray) and that he really doesn’t believe in ‘bad guys’ or ‘good guys’ any longer.

“It seems like you’ve been the hero, you’ve been the viallian, the conquerer, the saviour and, even now, I still have no idea of what you exactly are” “It’s up to you to decide, isn’t it?”

Now this can be interpreted in a few different ways. It could be that Tommy has simply given up in tring to define himself since others keep insisting in putting him into small little boxes that don’t fit him. It could be that he simply refuses the labels and leaves it up to others to decide what he is in relation to them. Or it could be something else entirely and I’m leaving it up to you to decide.

“Unlike you I don’t really have a choice. I have to try and be who I want to be, ‘cause if I don’t... very bad things are gonna happen on this server. Now Wilbur’s back Foolish I can’t- quite frankly no one can risk that, so I don’t really have a choice”

And this is how it ends on a quite hopeless note actually. By this point the responsability to solve problems has been put on his shoulders so many times that he doesn’t really think he has a choice any longer and he also recognizes Wilbur as a genuine threat to the server as a whole if left alone.

[who-is-page]

We sort of started this discussion at Chimeras' Othercon panel, but I wanted to keep it going so I figured I would send an ask. What do you think it would mean for our community to drop the focus on voluntary and involuntary identities? I agree that we fundamentally should, but a bunch of things immediately jump to mind.

Our community has spent years leaning heavily into the lines between voluntary and involuntary identities and taken special care to make massive distinctions between them, leaving little to no room for grey area. It's no bit surprise that alterhuman spaces have had actual, legitimate, longstanding issues of grilling and gatekeeping. Nonhumans with nuanced and complicated identities are forced to shove themselves into a box to fit into the community, and the ideas we have about certain identities needing to be involuntary are absolutely baked into many aspects of our community and its history.

At the same time, we have used this unjustified gatekeeping in part to protect the community from genuine threats and appropriation of our terminology. The way we have limited our concepts of who is allowed to identify in what ways is generally wrong and has no doubt harmed a subset of kin, but at the same time is understandable in the sense that it has a cause. Yes, this was an issue even before KFF, but KFF certainly don't make it easy to create space for genuine voluntary kin and other voluntary alterhumans.

How do we create the space for nuance and fluidity and complexity in these terms and identities after we have spent so long defensively creating rigid boundaries and restrictions regarding the ways people are allowed to identify? How do we address community gatekeeping while also protecting our community from the people who use our identities and terminology in bad faith?

I have a lot of ideas, but this is obviously a very complex topic that we can't just solve in a day. I was just curious to hear your thoughts, if you had any. Hopefully once our personal website is up one of our first essays will be about this issue. (Also, how is Page? /hj)

So I know we’ve been sitting on this ask for... -checks watch- ...almost two weeks now, but it’s genuinely because I just wasn’t sure how to answer it for a good long while, and I didn’t just want to throw out some haphazard, half-hearted answer to such important questions. So here’s our thoughts on the debacle.

Voluntary and involuntary is a focus I doubt we’ll ever see any of the alterhuman communities permanently drop, for several reasons.

The first and foremost being that, by the definition of the term “alterhuman,” defined here as “a subjective identity which is beyond the scope of what is traditionally considered ‘being human’,” both experiences at their most extremes technically fall underneath the label, rendering the distinction (to some) vitally important to helping understand and define their identity/identity labels. The difference between KFF as an alterhuman identity and forms of otherkinity as an alterhuman identity, for instance, as you mention.

And then there’s the societal factors to consider. People like nice, neat little boxes: people like to be able to compartmentalize their communities, with no overlap, with no spillage, with no complications or grey areas or nuance. It’s a fact of life that people often instinctively want to water down labels and identities into more easily digestible formations, though there are arguments around why people precisely do it. And, as you point out, that often means alterhumans and nonhumans with more complex or nuanced identities typically get shoved into one box or another that they may not perfectly fit into.

When we zero in on specifically the otherkin community, this becomes even more complicated given the community’s rife history: abusive p-shifter groups, the appropriation of language by roleplayers and fiction writers, zoophiles attempting to forcibly associate otherkinity with pro-bestiality movements, and the blatant general misinformation spread by laymen and academics alike, just to name a few relevant problems the community has faced and continues to face. The community is stubborn to a fault, largely because it’s had to be in order to survive. It holds to its preconceived notions and rigid boundaries like a dog with toy aggression to their favorite plush stegosaurus. Fittingly so, really.

So how do we take that stubbornness and change it to be more inclusive to our own? How could we, while still surviving all that onslaught and more? That’s the big question.

In regards to the larger alterhuman community, we’re blessed in the fact that it’s still such a young concept: it hasn’t quite yet had to face the “pathological anger” Religious Studies professor Joseph Laycock has described otherkin as bearing the brunt of. It’s still a community figuring itself out, with much of the anger you find related to it aimed at specific subsets of community within it, rather than at alterhumanity as a whole. And I think the fact that the alterhuman community is still metaphorically air-drying on a table means we have the opportunity to prevent anti-nuance and anti-complexity attitudes from taking hold in it. How we do that is another battle in itself-- I feel like the encouragement of inclusive dialogue, of open discussion intermingled with considerate or civil attitudes, within alterhuman-marketed spaces is a good starting point. I also think that the encouragement and legitimization of “alterhuman” as its own standalone term would be a positive force, where it functions as a broad, diverse identity label in addition to being an overarching, joining umbrella label. A label where someone doesn’t have to give details away of their identity if they don’t feel comfortable doing so, or shove themself into a box they may or may not actually feel they fit into. Something functionally similar to how many people use “queer,” if you will.

But that still leaves aside the issue of identity and terminological misuse, I am aware. And that is...an abstract thing to ward against, at absolute best. I think that the defining of our own spaces not only through our words but also through our actions would perhaps be the best thing we could do, realistically. The cultivation of websites, of group projects--books, zines, comics, pictures, forums, anything!--, of community-led conventions and meet-ups and howls and gatherings. Things which foster and build a community identity of sorts is the best defense against those who would try and distort that which makes us, us.

Zooming back in on the otherkin community, these answers change slightly, because--going back to the clay metaphor--the otherkin community has already metaphorically been glazed and baked (in the fires of hell). That history is cemented, the ways people have wronged it and continue to try and wrong it is cemented, the assumptions and attitudes are cemented.

With the otherkin community, I think that the burden of changing minds and pervasive attitudes falls a bit more onto the shoulders of “community leadership,” because of how the community functions and values both community experience and articulation. There’s a reason we don’t have a term comparable to “greymuzzle” in any of the other alterhuman communities, after all-- it’s a well-known and often aggravating quirk of the otherkin community, to hold certain individuals in such high esteem and put them on a pedestal because of their longevity and the things they’ve done and said. I hate to say that they have to set an example, but in the otherkin community that really is one of the best ways to advocate for change, or to push against those gatekeeping and grilling attitudes--by those who are largely well-respected putting forward ideas that have previously been mocked or disavowed, pushing debates on their legitimacy into community consciousness until it eventually trickles into community normalcy and foundation.

(This is, as you can imagine, a double-edged sword depending on how it’s used. But that’s a discussion for another day.)

That’s not to say that the ideas of creation and creativity with the goal of cultivating an inclusive community identity, like I suggested for the alterhuman community, is inapplicable to the otherkin community: but the otherkin community already has a long-term community identity, so it’d moreso be creation and creativity for the sake of formative inclusion. “History is always written by the winners” is a very, very literal phrase in its application to the otherkin community. Our community memory, for lack of a better way to put it, sucks from individual-to-individual. The future of the otherkin community, its eventual-history, is determined by its historians and creators of today: day-to-day arguments and discussions, unless deemed historically relevant by one archivist or another, disappear to the sands of time, and much more long-term recordings such as essays, websites, comics, etc., often go far beyond just its creators hands and get passed around and down for years, potentially. If you want a more nuanced and inclusive community, you have to dig up the clay for it, shovel by shovel, and bake it yourself, brick by brick, and eventually, with luck, or enough backing prestige, or just because those bricks are so astoundingly solid people can’t resist taking some to build their own foundations to nonhumanity, things will change. It will take time above all else, but once it’s there it will be impossible to remove, because people will just assume those bricks have always been there given enough years.

But those are just some of my thoughts and opinions on it. It’s an issue with so many layers of complexity to it, that there’s really no perfect answer out there that I can offer, and I know even what I’ve shared here has its flaws and drawbacks. I’m sure plenty of my followers also have additional thoughts on the subject, and I’d love to hear from other people what they think in the replies and reblogs.

(Also, Page is a very tired boi.)

[ramblingguy54]

True Colors: An Emotionally Fantastic Serious Game Changer.

If we’re to look back at Reunion as Season 1′s dramatic pay off for Amphibia’s message of toxic friendships, as Anne & Sasha’s conflicting dynamic showed us, then True Colors is a colossal expansive note on this big theme of the series. True Colors makes Season 1′s finale look like a walk in the park for what angst goes down between our three main heroins in Season 2′s climatic resolution. Everything that can go wrong does go oh so painfully wrong for these three kids. Anne, to no one’s surprise, gets double crossed by Sasha leaving things between them a Hell of a lot more bitter than they were previously, as if that couldn’t already be topped when Sasha tried to kill the Plantars before. Anne has had enough of her lies and manipulation not being afraid to tell Sasha straight up how awful of a friend she’s been in general, even hitting her where it hurts most of all saying, “No, I’m done listening to you! I’m done trusting you! You’re a horrible person and I am done being FRIENDS with you!”, going so far as to get a shaken reaction out of Sasha dropping her brave face act, making this girl try to wipe away the frog family.

Right off the bat, True Colors makes it highly evident this isn’t just another story of stopping a bigger threat, but one hitting much closer to home, overall. Yes, King Andrias is certainly a dangerous villain, who makes his presence and intimidating nature known to the others by True Color’s final act, which despite this Amphibia isn’t entirely putting him at the forefront, rather focusing on a more intimate study of Anne, Sasha, and Marcy’s big emotional conflict. This finale knows exactly where to put its focus of importance on, so I love that instead of it being action packed we’re getting the spotlight shined on just how screwed up these three of a friendship have, in spite of Marcy claiming in The Dinner episode, “We’re supposed to be friends for life. We don’t split up!’ . Very ironic stuff right there, indeed.

True Colors’ most powerful strength it adds to Amphibia’s ongoing profound story about healthy friendships is the thorough deconstruction of these girls defined “ideal relationship” as people. Before Anne came to the world of Amphibia this kid was afraid to stand up for what she believed in, even knowing especially well that stealing the calamity box was morally questionable, but did it anyway. Sasha was super manipulative, abusive, and used her power to control people, like she did a lot of toward Anne in their lives. Marcy, while very smart, wasn’t the most competent physically, who soon grew into being more independent without needing to rely on Anne always having to be there for her. These three were changed immensely by the events of being thrust into this world of sentient amphibian creatures. Anne benefited morally most out out of all three in taking up the mantle of responsibility and ironing out her own issues. She’s become a much stronger person all around. 

This episode asks us an important question though in nutshell with, “Have Sasha & Marcy truly changed for the better?”, since Anne has reached a point in her arc feeling genuinely content with who she’s become and the bonds that have been made with the Plantar family shown most notably with Sprig Plantar. Hence the whole purpose behind the song, It’s No Big Deal, with Anne feeling proud for who she is, yet not noticing a bigger issue right underneath her nose. That previous episode was meant to bring Anne’s happiness up only to bring it all crashing down in a devastating display of new revelations in True Colors. Every dramatic emotional beat isn’t just earned. Each significant moment is completely knocked out of the park by terrific voice acting, beautiful animation, and music composition that gave me serious emotional goosebumps. True Colors did exactly as Not What He Seems accomplished for Gravity Falls in shaking up its own respective dramatic stakes just when you thought it couldn’t get any higher for these protagonists. Shit seriously hits the fan here.

Did it ever occur to you, Anne? Sasha? That one of you knew more, than she was letting on? That ONE of you might’ve gotten you stranded in Amphibia on purpose...?

The big bombshell twist of Marcy playing a part too in getting them into this whole debacle completely flips everything upside down. Sasha pushed Anne into taking the Calamity Box, yes, but if Marcy never sent that photo because of her desire to stay with them together forever, then they wouldn’t have been stranded in basically a world full of dangerous creatures and who knows what else. Easily my favorite part of the episode, considering it adds more nuance to a situation that defined Amphibia’s story. It wasn’t just one person’s fault at the end of the day. Sasha bullied Anne into taking the box, Anne didn’t put her foot down to make a stand for something morally questionable, and Marcy took advantage of them both to benefit her own selfish desires for supposedly a “happy ending” not involving them staying apart, due to her parents moving away for a new job. All three girls played an important part on why they got landed into Amphiba. It’s why Anne’s statement to King Andrias, “The three of us may have made some mistake, but you...You’re evil and I’m gonna stop you!”, holds such a real weight to it, as this story continues to solidify how genuinely fleshed out their dynamic is.

Marcy’s super desperate plea to be understood by Anne & Sasha when Andrias revealed her getting them thrown into Amphibia purposefully was hard to watch. On one hand, I felt for Marcy because she didn’t want real life circumstances to tear apart that close connection she had to Sasha & Anne. Sure, she could’ve just kept in touch with them over the phone or chatting online, too. However, Marcy had known them since very early childhood. When you’ve been so attached to someone it can be a devastating thing, depending on just how vulnerable you are emotionally, to start drifting apart. Marcy represents that embodiment of toxic need for togetherness and couldn’t bear to let a possibility, like moving away, throw a wrench into her happiness and friendship, as well.

Never mind Marcy wanting to stay permanently in a different reality, rather than face her’s, but it made this person feel like something more. It gave her a chance to feel truly special in being able to live out a fantasy dream of having such power and freedom that a kid, like herself, couldn’t have had. The freedom to know she is plenty capable of making it out there on her own without Anne having to watch this kid like a hawk. So, to have someone, or something, try taking it away from her terrified Marcy of facing a terrible truth. That she isn’t strong enough after all to live a life without Anne & Sasha by her side completely, where Marcy will never feel truly worthy enough to blossom into her own person. It’s why that line, “I just...didn’t want to be alone...”, carries such a deep pain to it all. Marcy just crumbles into pieces accepting her greatest weakness. As much as Marcy fumbled the ball big time, it’s so easy to empathize with her on the idea of feeling competent enough. Marcy never meant to hurt Anne or Sasha, but the sad crushing punchline is she very much did.

Speaking of which, Anne had every right to be upset and mad, obviously. Anne has been missing so many things from her life before everything went off the wall. Hopping Mall especially highlighted Anne’s emotional desire to give anything just to hear her mother’s singing again. This teenager has been really dealing with a lot of grief in general quite honestly. Anne got into a high stakes battle against Sasha to save new friends, who’d practically became like an adopted family, which left the poor girl traumatized and heartbroken over the end result. She thought finding Marcy would help compensate for it and eventually be able to mend those complications with Sasha to boot. It’s simply painful to see it all blow up in Anne’s face to know not only Sasha betrayed her trust yet again, but realizing Marcy also played a part of responsibility in getting them thrown here. Matt Braly really just decided to slap future trust issues onto Anne finding out Hop Pop, Sasha, and Marcy were all super dishonest in their intentions at one point or another. Damn, I feel so bad for her.

It makes their embracing hug back in Marcy At The Gates so much harder to watch. Anne was super glad to see her again. Anne had wondered what became of Marcy or even possibly started to think she could even be alive at all. Then come to find out later on Marcy having intentionally ripped her away from a normal life must’ve felt worse then what happened with Sasha. Anne, already done with all of Sasha’s bullshit, thought she could at least expect better from Marcy not letting her down, but that too wasn’t the case. Marcy is very much as flawed as Sasha in what she has done. To think, Anne wanted so badly to get back home, yet she’s staring the very person dead in the eye, who ripped her away from it to begin with. Marcy knew Sasha would talk Anne into taking the box from that thrift shop, even if she wasn’t completely certain it would successfully teleport them away. Regardless of whatever good intentions someone can have in why they did what they did, it still doesn’t absolve them of said mistake. Fact of the matter is, Marcy tragically made her own bed, by choosing to mess with forces she couldn’t begin to comprehend and now has to face consequences, in spite of her not deserving them.

What really got to me was when Marcy tried to spin around Anne’s personal growth and close friendship with the Plantars as all entirely thanks to her. When she said, “I gave you this! I gave you everything!”, I was like, “Nope, that couldn’t be any further from the truth.”, seeing everything that has culminated in Anne’s journey of bettering herself. Marcy didn’t give Anne anything, but a one way ticket to cutting the kid off from her family, presuming she’d be fine with this idea. It’s all kinds of messed up, however what it boils down to is Marcy undermining Anne’s independence and agency. Anne’s moral judgement in decision making was what allowed her to create this new life she made for herself in Amphibia. Anne’s honesty as a whole led her down a path of togetherness, while Marcy’s lying landed her in a result of not wanting to be alone, costing her so much.

“I don’t believe this. We were so focused on each other we couldn’t see what was right in front of us!”

True Colors excels at earning each of its emotional beats because they line up with character motivations down to the last letter. Anne doesn’t want to trust Sasha anymore because of their already rocky past, which leads to her helping King Andrias regain control of his kingdom. Sasha not keeping a lid on her temper, wanting to rule over Amphibia, and trying to reinforce that power dynamic with Anne & Marcy only made things worse for her image of a changed good friend. There wasn’t a chance in Hell Anne would hear Sasha’s reasoning after she flat out tried to take away her frog family, by attempting to use the Calamity Box a bit ago in the episode. Marcy wanted to believe there was a happily ever after in seeing this world traveling idea as their only chance for salvation as friends for life, but it turned out to be something much more sinister, when learning of Andrias’ backstory and his true scumbag nature. All three of their motivations come clashing together, blinding them from a much bigger danger. Something that effectively puts everyone at stake.

Amphibia’s Season 2 finale works so excellently, given it covers important dramatic elements it’s been stirring around since Season 1′s early rumblings. Amphibia is a story centered around people’s need for emotional connections. True Colors builds miraculously off what Reunion already did quite well in showing friendships can become rough and they are never easy to deal with. When you have to make a stand it can be a tough pill to swallow on the reality check of maybe this “good friend” of your’s isn’t as nice as you previously thought them to be. Anne having been hurt one too many times now by her former friend sends that message close to home, so much so even Sasha begins to question her morality as a human being. It poignantly encapsulates how this trio’s complex friendship is a serious growing issue needing to be reexamined, overall.

What if Anne’s right..? What if I am a horrible person...?

Something I absolutely love to pieces about True Colors, also a testament to Season 2′s darn good writing, is how much introspective we get from each character on what they’re feeling. We’ve seen plenty of Sasha’s vulnerability before in other episodes centered on her issues, but now we’re getting to the root of it. Sasha is really taking everything more to heart, little by little. Sasha’s understanding what kind of an effect she has on people, seeing the damage it has caused made evident by Percy and Braddock in Barrel’s Warhammer. Grime once told her, “Some dreams have a price and not everyone is willing to pay it.”, where she’s questioning that idealism every passing minute the invasion plan proceeds further into reaching success. Sasha isn’t sure what to do with herself anymore feeling aimless. Those previous episodes had a real impact on her priorities more than she cared to let on with Sasha’s typical tough girl act. This kid has let her guard down more, which scares and confuses Sasha. She’s always used to playing the role of protector it contradicts everything Sasha stands for when the roles are totally reversed because now Anne has made her feel the tremendous change in their growth as individuals.

Sasha’s lifestyle has been all about control that after somewhat learning to be more considerate to Anne & Marcy’s feelings she feels beyond conflicted about what truly matters to her. The most screwed up part of it all is Sasha didn’t want to fight anymore, taking up a pacifist approach after seeing what King Andrias had been hiding from everyone. It’s a fitting punishment for Sasha to try bringing Anne over to work together once more, but getting her pleas for companionship outright ignored. Anne was correct that Sasha had wasted all the chances to be reasonable. Boonchuy tried to hear out Sasha before at The Third Temple. One wanted to start things over again to iron out their serious issues, but the other was driven by bitterness, while only remorseful to a degree at best, of seeing their once weak friend become so independent, mature, and stronger that it drove her up wall. Sasha wanted to take away that “problem” being the Plantars, since in her eyes they’re the source of Anne’s strength, driving a wedge further between the two girls in their heated Reunion 2.0 battle.

True Colors demonstrates the horrific price of no trust, communication, nor teamwork from the three main girls that Andrias smoothly took advantage of, as if they were fiddles. 

“That’s the thing about friends isn’t it? The more you love them, the more it hurts when they go.”

King Andrias is quite literally what I wanted Lunaris to be, where DuckTales’ Season 2 finale didn’t impress me on doing. He’s a serious big baddie to the main cast, who follows through on his threats of violence to demonstrate his wide array of arsenal and power. Andrias doesn’t just emotionally manipulate characters, like poor Marcy, but utterly crush them without an ounce of remorse for his actions. When he dropped Sprig out that window after Anne willingly let him have the Calamity Box back I thought they were legit gonna kill this boy off. The way Anne’s flashback montage of her good times with Sprig were eerily shot really didn’t help either on that note. Anne’s Calamity power finally activating is easily up there among stuff, like Dewey risking his life for Della’s disappearance in Last Crash, where the cinematography is shot and animated brilliantly. You feel Anne’s blind raging sadness in every hit she landed on those robots and Andrias. If anyone didn’t believe Sprig was like a little brother to Anne, then I dunno how anyone couldn’t view their bond anymore as such after this hugely defining scene. Anne went bloodthirsty when she believed Sprig to be dead further evidenced when she hugged him in relief afterwards exclaiming, “Sprig!? You’re alive!? Oh, thank goodness...”, which cuts deep so damn much.

Anne was ready to fight every one of Andrias’ troops in that castle to the death, if need be. Before Sprig came back from falling, thanks to Marcy’s quick acting, to comfort Anne, her only goal was to slaughter every opponent in that throne room, along with making Andrias pay dearly for even daring to lay a single finger on anyone of the Plantars. I’m not gonna lie, this pivotal power up reminded me so much Gohan turning Super Saiyan 2 after Cell curb stomped Android 16 into pieces with a smirk on his face. Anne Boonchuy’s maddening outburst is a classic testament to the idea of, “Piss off the nicest person and they’ll make it their mission to instill the biggest kind of fear/terror into you.”. showing this kid at her most vulnerable mental state, yet. Sprig & Anne’s cathartic embrace really messed me up in reinforcing just how these two respect, love, and would go above any of their limitations to help the other out. Sprig’s “death” scene was a masterful bait by the writers into making us think someone was gonna die and it was gonna be a poor kid, no less.  

However, it was actually all just a bait and switch for the real, “Oh, shit. They really just did that”, moment with Marcy unexpectedly getting run through with Andrias’ gigantic sword. In a last ditch effort, Marcy wanted to atone for what she had a hand in getting them all into. Marcy was ironclad determined in making her own stand for what was right trying to save the people she endangered. Akin to what Sasha did in Reunion for saving Anne’s life, Marcy does the exact same here. Although, unfortunately this time, no one is here to protect Marcy from escaping death, like Grime catching Sasha from plummeting at Toad Tower. Marcy couldn’t react in time because she was so focused on helping her dear friends out. She wanted to prove to herself at least one time, “I’ve screwed up so much stuff with my friends. Maybe, just maybe. If I get my friends back home, it’ll prove I’m not an entirely crappy person for setting these events into motion.”. Marcy’s own deep seeded remorse is what saved Anne & the Plantars, while being the cause of her own untimely demise at Andrias’ hands.

This scene is what no doubt encouraged the warning sign for younger viewers Disney decided to make for them. It’s impressive how far Matt and his crew are willing to go for intense dramatic content. Andrias trying to crush Polly with his fist after destroying Frobo with casual ease, dropping Sprig out of the window from up sky high, and stabbing Marcy with his powerful sword displays his cold blooded brutality. Doesn’t matter who you are. If you get in the way of Andrias’ plans for multiverse domination, then he’ll throw anyone into their own grave, be it man, woman, or child. That’s the mark of a truly terrifying antagonist.

Andrias didn’t care who had to be hurt or manipulated to get back the box, so he could invade other worlds with Earth being his next prime target for invasion. Marcy’s fate is a horrifyingly poetic statement, since Sasha stated to Anne in a flashback from Marcy At The Gates, “One of these days, she’s gonna get herself killed.”, with True Colors tying back to this line in a disturbing manner. Something that sends chills down my spine is we get to see the full extent of how far Andrias shoved the sword through her body. We don’t just see the entry point of where it hit her, but it even zooms out to show the whole thing. Real talk, I got serious Avatar The Last Airbender vibes from this scene. Reminded me so much of Aang getting suddenly zapped with lightning by Azula when he tried to enter the Avatar state. Marcy didn’t want to be alone so badly she ended up inevitably dying alone trying to send Anne back home to their reality. One Hell of a way to close off Marcy’s last moments in Season 2, until her inevitable resurrection happens in Season 3 now that King Andrias has her in a tube tank that looks tied to his master.

True Colors ends on a deeply bittersweet cliffhanger leaving the fates of Sasha & Grime totally unknown if they’ll get away by the skin of their teeth, or get captured by Andrias’ soldiers and robots. Anne finally returned home with the Plantars, but at a deadly cost of leaving her other close friends behind in Amphibia. After all the isolation, heartbreak, and endurance she went through with her frog family Anne finds herself at a total loss for words. Once again, Anne is in a state of solitude of not knowing if her friends are really okay or not, mirroring the start of Season 1 when she landed into Amphibia’s world. It’s safe to say to say that, “Finally me and it’s no big deal.”, lyrics have aged terribly for Anne’s realization of finding her own identity came at the expense of getting separated from friends she’s known since kindergarten. Definitely see Anne becoming a lot more protective of the Plantars now more than ever after watching Marcy drop to the ground from being stabbed in front of her eyes.

Amphibia’s Season 2 finale is exactly how you capitalize on a winning story telling formula of dramatic writing, lovable characters with layered depth, and increasing the stakes of your story in an organic manner. True Colors is a finale that should be talked about for a long time to come, as it not only showed how worth the wait it was, but reinforces why Amphibia is a truly great series. It’s unafraid to take its characters to dark places in a way that feels totally earned.

Amphibia Season 2 is everything a sequel to a first film should be.

[nodameshield]

how are we doing? have the tears dried yet? I know mine haven’t :: 

let’s start light : research fellows count ! (also, lady, only ten years old? - I resent that).

Goh understands this?? he’s got a silly proud smile and it’s following Ash’s butchered storytelling??? love 

research fellows count ! 

perfectly attainable dream 

sure, go for it.  (look at both of their supportive lil smiles, we love best friends) 

we all know the scene that’s coming ahead, but I thought this was a beautiful demonstration of growth already on Goh’s side.

Listen before the sad part begins let us appreciate for a moment how Ash and Goh were smiling at EACH OTHER after the interview was over. cuties. 

behold : the last frame we have of baby Sobble. I’m going to miss you, bean. thank you for everything<3 (he was so proud of his good deed as well!! my very heart) 

just how fast the night changes, indeed.

Drizzle went through shock and pain at record speed and swiftly landed on anger - only to fall into ✨depression✨ just as quickly.

and then we just stayed there.

someone 

is 

(oh hey Cinderace ! good to see ya)

having  

a rough morning

 (I’m sorry, this scene was just fucking funny - the drama)

Cinderace’s proud big bro moment was just too sweet to leave out - let us not forget, he’s been a big bro since he was Raboot (and even as a temperamental Raboot, he was always gentle to Sobble). And now his baby bro has evolved as well. precious ! 

Goh handled this situation very maturely from the beginning. And here’s when the build up starts. He’s saying ‘hey, let me help you how I think you need to be helped” and he genuinely doesn’t mean any harm! naturally, his reaction is to help his Pokémon, in the way that has worked in the past.

but then he starts to understand maybe that’s not the best approach this time around.

and he’s ready to respect those new boundaries (of course, there’s no blame on Cinderace, either. Much like Goh, he - and everyone, really - was just trying to help in the way he thought was the best).

shoutout to the animation on this bit because Pikachu’s ears darting down was a delightful detail. Chloe’s expression and Grookey’s simmering down drove the point home as well.

ah, you coy little thing. Did you forget how your trainer almost left you behind because of how rebellious you were??? Because you made him feel as though you’d be better off without him?? (Cinderace has selective memory, you can’t change my mind, don’t be miss-leaded by the cuteness)

this build up was wonderful - we begin to hear all these reasons why, yeah? maybe he just wants to be alone.

maybe he’s still very afraid and careful of his surroundings, and his evolution made it worse? (he’d been popping up in random places in previous episodes, hiding, which was also great foreshadowing for this episode !) 

maybe he’s cocooning himself until he’s ready to evolve again? (which, considering his disappointment and how badly he wanted to be Inteleon already, is a very plausible reason)

but Prof. Cerise gets it right when he says ‘we can’t really know for sure’ (which ties greatly with Goh’s upcoming scene) - is it your Drizzle’s quirk? are they all like this? who cares? Isn’t wonderful how he’s a living creature? how he’s got nuances and a personality? shouldn’t that be enough of a reason to look after him, and try to help him right now?

my child, still thinking he’s got to do everything on his own.

and these two are just like ????? Goh ??? watchu talking about ???

can you imagine how MUCH this moment means to him?? he was ready to keep going alone (it’s what he knows) and even when Ash and Chloe prove him, time and time again, that he’s not alone, there’s still something in Goh coded to believe others won’t care as much/won’t be there when he needs them. and that’s why he insists: I’ve got this. I can do it alone.

and, sure, but you don’t have to. that’s the beauty of friendship.

you tell him, Chloe. (actually, without Chloe calling him out, he might have taken longer to figure out where Drizzle was. so...) // but also, it gives us a glimpse into the fact that, while Goh might have felt very lonely, Chloe has been observing and caring for him - in her way - for a long minute as well.

my very point above. 

HEY, LISTEN: he doesn’t know, either. he’s a child, words are hard, and you rotate along the four moods of childhood (happy, upset, scared, hungry (?)) and don’t ponder much on anything else because you are a child, there’s no emotional intelligence to speak of, no need for it, you’re being shaped by your environment and all the stimuli of the world being a new place. things like loneliness, confusion, anxiety... we can’t put those into words - hell, they’re fucking abstract and confusing even when we are adults.

and Goh’s stimuli and environment was, given what we know of his family life, a rather lonely one. Did his parents have a lot of spare time to take him to the park? I don’t think so. Was he good at going out there and asking other kids to play? ... probably not. 

Chloe doesn’t strike me as an extrovert, either, so even if she wanted to get close to Goh or invite him to hang out, perhaps she was too shy as well. Heck, perhaps Goh’s reaction would’ve been like the one above, he simply didn’t know. Maybe he didn’t want to ! and that’s perfectly fine as well.

am I forgiving the anipoke team for making Goh cry? no, never. but this was beautifully executed so I can grow to live with it.

“why are you depressed?” “you have nothing to be sad about!” “look at all the wonderful things you have!” “just be happy again!” - sound familiar? yeah, this was incredibly well done.

as adults, perhaps we see this and think ‘shit, how cool that they’re prodding on these topics, it’s important’ and it is !!! so important !! but if it’s this impactful as young-adults/grown-ups, imagine how impactful it must be as a child to see this and feel perceived. I’m honestly so proud of this moment, this whole episode. I’m grateful they took the time to look into this maturely. and even if children don’t do a full-fledged analysis on it, if they relate (like I know so many of us did) they won’t forget it. and that’s beautiful.

darling I’m blanking on your TW handle I’m so sorry - but someone in a tweet SO RIGHTFULLY pointed out that these are the words Goh would have needed to hear when he was younger. saying them to Drizzle it’s a full circle moment for him, he’s hearing them as well, and it’s helping both of them grow.

He’s not forcing himself as Drizzle’s trainer. Goh bears no entitlement here. He’s saying ‘Hey, if you’re comfortable, if you want to share , I’ll be here’ / as a kid, people did care for him, they kept wanting to know what was going on, but Goh couldn’t put that in words and people pestering him only made it worse, but if someone had said ‘hey, when you’re ready...’ then,,,,yeah,,,,maybe it would’ve been different. 

he’s offering that safety now to his Pokémon, something he didn’t have, but he grew to understand is what he (and now Drizzle) needed. If that doesn’t have you breaking down in a teary mess then you are stronger than I’ll ever be, because my glasses were cloudy by this point.

why, why, why. because you needed to hear all that as well, baby! so did a number of us. thank you.

I’ll say that, however it was that you connected with this moment, that’s yours to cherish. 

Personally, I too had a lonely childhood marked by parents who overworked, and I too spent a lot of time alone in kindergarten and through elementary school because it was hard to make friends (turns out i’m an extrovert, ha, talk about breaking out of your shell...) so, obviously there were easy common grounds for me in this episode.

but I LOVED to read the reactions and realize so many people still connected with it, one way or the other. So many of us felt seen and understood and acknowledged in emotions that are so hard to put into words !! 

so, again, if you identified with Goh or Drizzle or any of the topics in this episode, that’s very beautiful, and I hope the underlying message that you’re not alone gets through.

With Sobble, and now with Drizzle as well, Goh is very adamant to remind us that, however we are, that’s fine. there’s something that makes us special, regardless of other people’s opinions, or their ideas of how we *should be* // that’s the message I’m taking with me, at least.

 and i can’t wait to see how this story line evolves !! I have no doubts that, when the moment comes, Inteleon will be a wonderful addition to the team, but Drizzle is here now, and he’s plenty wonderful already x

Bonus: 

ha ha, yes. I watched this episode three times. And all three times I was a mess.

side note but a very important one: the animation, the voice acting, the dialog, the scenery of the starry night - the entire scene was so beautifully executed. so  carefully crafted. ugh, amazing. just perfect. so happy.

[itsclydebitches]

Heyo Clyde! I know this scene is years old by this point but aside from the obvious "Yang must learn to fight smarter", what do you think Tai was insinuating when he said "there's a way around, as well"? Initially, I thought it was about having empathy for others; Tai trips Yang, Yang hits the ground, Yang learns and trips Tai but catches him before he hits the ground when she didn't have to. However... this is never really an arc for her and I'm sad.

Hiya, anon! I love discussing old content :D

Honestly, I don't think there is anything that he's insinuating there. The concept of "fight smarter" applies to more than literal fights in this conversation — Yang's ability to maintain an emotional balance and the fact that Raven's own obsession with strength tore the team apart and "did a number on the family," most notably — but it's all the same message. Tai is talking about how Yang's tendency to brute force her way through problems is both a hinderance in battle (what happens if you miss? If they're faster? If they're stronger? Then you're just tired and out of options) and, given that semblances are tied to the soul, it's a hinderance to other aspects of her life too. That's where Raven comes in. She's undoubtedly strong... but that mindset of "Being the strongest is the only thing that matters" severely hurt her relationships. And, as we'll later learn, led to thought processes like, "It's a mercy to kill the Spring Maiden because she's too weak to bear this burden." Focusing solely on any one thing makes you stubborn. It makes you bullheaded. Every solution is indeed a "temper tantrum" when you believe there's only one route and someone has dared to block your way. If you're unable to think your way out of a combat problem, you might lose an arm. If you're unable to think your way out of a non-combat problem, you might drive people away. And in both cases you're likely to get mad because you haven't learned to reevaluate a situation. When your one option fails... that's it, get upset and then repeat that one option until it either works (Neon) or you fail (Adam). Indeed, Yang proves this during the start of the conversation. Tai mentions that her balance is still off and her instinctual response is, "What? No it's not!"

I obviously can't recreate her tone here, but she gets angry. That's her go-to solution for too many things, literally when it comes to her semblance, and that's Tai's concern. If she keeps relying on her anger to win fights, she's going to fail a lot, like he saw when she went up against Neon. If she allows anger to consume her it may impact her relationships and she'll wind up like Raven. Tai's reminder that "there's a way around as well" is a generalized bit of advice for fighting and life. Stop throwing yourself against the brick wall again and again and again in the vain hope that it will eventually break — or, if that wall is a metaphor for a person, it eventually leaves. Instead, take a step back and see if there's a door you can go through, thinking your way around the problem rather than brute-forcing your way through it.

And that's precisely what Yang does in their second sparing match. They wind up catching one another's blows and it becomes a test of strength. Yang's instinct would normally be to push against Tai, only knowing how to try and overpower him — and she might well fail because, well, he's an adult man with a lot more training under his belt.

Yet now, because of this talk, she trips him instead. Yang learned from their earlier interaction and applies a strategy here. If I can't overpower him, I'll throw him off balance instead. She catches him because Tai doesn't actually have to hit the ground (ow) to prove her point and she's already demonstrated that she understands what he's been teaching her. Cute father-daughter moment to round out the deep talk.

Honestly, I think this is one of the better, more nuanced scenes that RWBY has given us. Fans who get hung up on the "temper tantrum" comment miss the incredibly important lesson Tai is imparting (as well as the times he compliments her after that to soften the blow). Tai not only doesn't want Yang to wind up in another Neon situation — chasing her around ice while screaming for her to shut up because she doesn't know what to do except ramp up her semblance and punch — he doesn't want her to wind up in another Adam situation — charging blindly against a stronger opponent and coming away grievously injured — and he doesn't want her to wind up like Raven — so stubborn and obsessed with strength that she tears her relationships apart. All of this stems from the same lesson of learning to value going around problems rather than just punching through them. So the fact that RWBY would give us this scene and then follow it with Yang being single-mindedly stubborn about Ozpin, charging blindly into trusting Robyn, and literally charging at Ruby so that she's "killed" by Neo... yeah, that's incredibly disappointing. Yang carried this lesson into two interactions, the creepy bar dude and Mercury, and then that was it.

[otterskin]

I didn't like the LOKI show, no matter how hard I try, and it's messing with me.

My mother died at the end of December. A lot of other bad things happened as well, like the severe brain injury of my father.

I didn't cry. There was so much to do. I did it. And even then, when there was nothing left to do, I didn't cry.

I found distractions.

Today I went to see the Green Knight after a tough week at a new job that had me leave my father in another province even though he still needs help. I was trying to get back to the life I'd dropped.

I loved the Green Knight. The Arthurian Legends are as dear to me as Norse Mythology, and my copy of them had the Green Knight on the cover. The film was truly excellent, evoking the feel of the story whole still doing something unique and very A24. I cried at one point, like I did when watching the first THOR, because of how much it meant to see something I'd loved since the very first years of my existence finally make it to the big screen and be...right. It's own thing, it's own artistic product, but right.

Then I opened a tab in a browser and saw I had some messages on a website I comment on. It was just some minor criticism of the LOKI show I'd posted beneath an article and how it handled certain things.

I was downvoted. Berated. Hated. Lumped in the ad hominem twitter users who attacked the director and writer (I'd never, ever!) Told I was biphobic because I wanted to see more of a queer lens (I even addressed how difficult it is for bi people in queer cinema and society in general in my criticisms of the romance, but even that wasn't good enough - just disliking it was 'bad'.) I was told I just wanted my 'fanfic' made (I never made any laundrylist of plot points I demanded). I was accused of being a begrudged shipper (ha! If anything I'm an anti-shipper). I was told that I should love the show, it was awesome, and I was bad for not thinking so.

And I started to cry.

I don't cry. Only at movies. Not at real life. I didn't cry at my grandparents's funerals, I didn't cry when I was left with the body of my mother in the hospital room and my brother cried on my shoulder. I didn't cry when working through my dad's severe new disabilities as I realized how much he had lost. I didn't cry while realizing how messy my parents' finances were. I didn't cry when my mother's friends called me in the middle of the night and cried into the phone. I didn't cry when saying goodbye to my dog and going back to a rundown apartment with a terrible smell so I could go to work in a dark room for hours at a time.

But now I'm crying and writing this.

I've realized why. During everything, I looked forward to the LOKI show. The first THOR is deeply nostalgic to me and I watched it often in my first year of Uni when I was away from home. It tied in thematically to what I was going for. Thor 2 came out before I went on exchange, and while I disliked it overall, talking about it was a welcome distraction from my anxieties. Thor 3 was nerve-wracking, but it also came out during my first major job which I was struggling with, and I saw it so many times in theatres...it was such a huge comfort.

Looking forward to LOKI wasn't just a distraction. It was like a promise. A promise that I'd make it till then and see it and maybe it'd give me some comfort.

That's on me. That's a personal thing. It's an unreasonable expectation.

But I needed it, all the same.

Then it came out.

I tried. I really tried to like it, to forgive it, but the problems are things I've criticized for too long in so many other things. I always try to be respectful about, I never go ad hominem and attack the creators, only critique their work and I always mentioned what I liked but...

I didn't like it.

I have no urge to rewatch it.

And the Green Knight...the Green Knight was everything I wanted and needed it to be. It didn't let me down, though I've been anticipating it about as long as the LOKI show. They're very different, obviously, but in my heart they share the same compartment.

And after a very trying day...I realized how badly I needed to rewatch a Loki show I liked. But I can't even enjoy THOR or Thor:Ragnarok anymore. It's like everything I did like has been poisoned.

This thing that got me through immense pain is causing me pain. I don't want to be toxic. I'm sure it's in me. I try so hard not to wallow in disappointment, but to not even be allowed to talk about my problems without being lumped in with abusive online monsters...

I can't do it. I just can't.

This is supposed to be an escape, not another trial.

I needed the LOKI show to be good, so I could come out of the dark into the light, or at least walk through the night with a lantern ahead of me. And instead it was just more darkness, and it's not even entirely its own fault. It's the online discourse. It's the uncalled for harassment of Herron and Waldron. It's the taunting jabs at people who didn't have a good time as if we're all jerks. It's having people roll their eyes when you point out things that made you uncomfortable in the story, it's feeling slightly gaslit when you find something gross that the story intended to be gross and then being told it's not gross, actually.

I'm sorry. I don't want to cause pain. I just...

I needed it to be good. And unlike Thor 3, which delivered me respite in a dark time...it let me down. Worse, it's hurt me.

I said I don't cry, only at the movies. Something about them lets me cry in a way nothing else does. I can't cry at a funeral, but I can cry in a movie theatre at the drop of a hat. It's a release valve, a way for me to process things.

I think I was waiting for LOKI to give me permission to cry. To give me something that could release this pain in me. And instead, it just gave me more.

I never should have given it that power. I didn't want to. But I had to, to get through this.

I'm putting away the few THOR pieces of tat I have. I feel foolish. I always knew it was a capitalist piece of art, chucked from creator to creator with no creative shepherd, which in itself was stressful.

The fandom is no sanctuary for me either, since I'm primarily interested in the family dynamics and I'm sick of 'Odin is an ABUSIVE MONSTER' stories or even unrelated fics and posts just dropping in hate for him that's not at all canon but seems to be very popular to the point where people think it is. Especially since I often read these stories when I need to think of home and my father. Or, most pleasantly of all, when I get called an abuser or abuser-enabler because I say I like Odin as a character. I also can't really bear to deal with anything to do with Sylvie, whom I had high hopes for as someone who wants more female tricksters, but instead I got this...this Mary Sue that's very hard to criticize without being yelled at. I swear I'm coming at her writing as a feminist and I don't hate anyone, I don't, I just...sigh. She's just personally frustrating to me and not being able to discuss it without being called names sucks.

Not to mention I'm asexual, and I always struggle with romance in media being pushed as the 'ultimate relationship more important than any other'. Part of the reason I liked THOR so much was that romance was not the main feature of THOR and definitely not THOR 3 (while my disliked Dark World was all about it, and so is LOKI). And when I criticize the romance, I get called a prude (guilty, I guess), a troll, or, my favourite, just 'a hater'.

I don't want to hate. Who wants that poison in their veins? I'm here because the Thor series HELPED me because I LOVED it. And now I look at the things I used to love and I...don't, anymore.

So much is asked of me right now. I can't willingly invite this painful thing to sit on my chest as well, especially since the world is already shoving it into my face without my doing anything, in ads, in news, in everything.

I suppose that's why I've leaned even more into Odin lately. He was untouched by the LOKI series (though not the Simpson special, which worries me). He's a trickster, he's queer, he's nuanced, he's 'misunderstood' (that old cliche, but he's misunderstood and misrepresented by the people always yelling about how this or that character is misunderstood, which amuses me, except when it gets to me), and he's in many ways free to make my own.

I still have some stuff I'm going to publish that's practically finished. Finnesang has a lot more written for it but needs some major sit-down time for re-writes and edits. Lokabrenna is practically done, just needs tweaks and Beta. I'll be here a little longer.

But I think I'm going to have to step back for now and put my passions into other things.

I will be back. After all, after Thor 2 came Thor 3. Maybe Love and Thunder will right the ship and Thor can still be awesome, and maybe eventually a creative I love will come to work on the franchise. Really, that's the key for me - I loved Branagh before THOR, and loved Waititi before Thor, and disliked Waldron's work (though I gave him every benefit of the doubt and hoped and prayed to be wrong - sadly, it was what I expected.)

But...if LOKI season 2 is more of this, more romantic tropes I hate and Loki being an afterthought in his own show and his family being devalued for new characters...I can't do it. I can't watch something I used to love just throw that all away for something I dislike.

My tears are finally drying. I wrote a lot of this while the screen was blurry, so I hope there's no grammar or typo too embarrasing. I'm not sure I have the strength to re-read it. Sorry for the rant. It helped me feel better.

Thank you all. I hope I feel differently someday.

[tepidtrashpile]

covering taeyong’s parts

I am HEATED.

tldr: i don’t usually do stuff like this but i’m highly caffeinated and have nothing better to do so prepare for a (very convoluted and long) rant cause omg im so fucking mad. 

so for those of you who don’t know, nct 2020 had a resonance vlive/concert last night (dec 26/27) and taeyong and jisung were unable to perform due to a back injury (herniated disk) and knee injury respectively.

I’ll mainly be talking about taeyong in this just due to his extrEmely large presence within NCT and also jisung was there to vocally cover his parts.

(also not to take anything away from jisung, however in the sheer amount of screentime and tracks ty is in, him missing is much harder to disguise within a performance with or without vocals) 

in order these are the members that covered ty’s parts in each song (tbh i may be forgetting some, but the point is look at how hard they had to work to even fill ty’s dance position within the concert, the boy is in like 50% of their performed tracks)

nct u - boss - sungchan

nct u - the 7th sense - shotaro 

nct u - light bulb - yangyang

nct 127 - touch - haechan (first part), johnny (iconic ty and mork), yuta (pulls up in the chorus to fill in ty part to the stage right of jh) 

nct u - make a wish - jeno (first part), jaemin (basically rest of the song)

nct 127 - kick it - mark (usually the center parts), jaehyun (first rap), yuta (end dance break), johnny (mark stepped on him rip lol)

nct u - misfit - johnny (start), sungchan (end)

nct 2020 - resonance - jeno / jaemin (?) - dude idk im having trouble keeping up at this point

// I want to make it very clear that NCT would not be where it is without taeyong. I’m not suggesting that he is replaceable in any way, shape or form. however as a person with two parents in the performance industry - and im sure that many of u understand just from general life experience -- the show mUst go on. when you have a presence as large as ty missing, it is undoubtedly going to take a toll on the overall energy and performance but i personally think that the boys fucking killed it -- especially with such a short turnaround from learning that ty would not be performing. (jaemin said that jeno legit had one HOUR to practice the beginning of maw (and by proxy the beginning of resonance) and that amount of talent and skill is unfuckingbelievable) but I digress. 

// there is nothing wrong with being disappointed that taeyong cannot perform. (get well soon ty!) he is an incredible performer and human being. there is nothing wrong with seeing (and understanding) that another member filling ty’s part is going to FEEL different, even if they do a phenomenal job. there is nothing wrong with feeling the difference in energy and performance -- there is obviously ANOTHER PERSON doing the part that we are accustomed to. there is nothing wrong with having a conversation and discourse about the performance. however... there IS something wrong with putting down members and harshly criticizing their performance in a malicious way. constructive criticism is one thing, but a lot (not all but an overwhelming amount) of what I have seen in the comments and the little bit of twitter i have been on has just been bashing members (one in particular) about their performance. 

//

// let me get the easy part out of the way here. jaemin and jeno killed it during maw. yuta’s dance break, mark’s center time, jaehyun covering ty’s rap, and johnny stepping up to get stepped on (hehe i’ll stop now don’t mind me) were all surprisingly refreshing. yangyang covering lightbulb was (imo) one of highlights of the concert. for a rapper who often doesn’t get the recognition that he deserves he did a PHENOMENAL job covering the entirety of ty’s parts in his own way and conveying his emotions. yes, the members weren’t the same as taeyong, however, they added their own twist and their own personalities to it. it is in fact BETTER to do this and be remembered for their own style than attempt to emulate someone else’s performance. it is the sign of a great artist to take something and make it your own. 

// now, onto the two newest members. i will be candid about this. the biggest difference I felt within the performance was when sungchan and shotaro were covering ty’s parts. tbh this is to be expected (?). i’m not trying to put down the boys but the reality is that they debuted 2-3 MONTHS ago? all of the other members covering ty’s parts have had significantly more experience in every aspect of performing. jaemin and jeno may be about the same age as chan and shotaro but they have upwards of 4 years more experience (debuted anyway, and anyone can tell u that practicing vs the real thing can be a very daunting change) than the other two. the other members have performed in front of a live crowd, they have had time to deal with criticism and learn from it. they are just in every way more experienced, and although we expect great things out of all the members, it is simply unrealistic to expect the same level of performance out of members with 2 years less experience than anyone else on the stage. 

aneway...

shotaro covered one of the hardest parts in nct history - taeyong’s 7th sense. in every way - the rap, the technicality of the dance, the sheer charisma ty brings - this was a daunting task. him being a rookie DID show in the performance. this isn’t a bad thing. the tone of his rap did sometimes lack nuance and the level of sophistication that we know taeyong to have. however, i do think shotaro was the right choice for this song. you have to give rookies experience for them to grow, and a concert like this (even without a live crowd) is a great time to do it. (i’ll get into logistics later but bear with me)

the sad reality is that we’re probably not going to have large in person concerts for at least the next year and it will be a long time til travel, concerts, and simply life return to what they were before covid. it will be a very long til the boys get to perform on a stage with the energy of a crowd in the same way they have up til now. 

now sungchan. my poor bb sungchan :(

sungchan covered ty’s part is boss (and a little bit in misfit but johnny covered the first part and its more of a hype rap song than one with designated dance moves and centre parts). the dance (in boss) may not be the most technical but this is an unfORGETTABLE song when it comes to taeyong’s part. the beginning “nct leggo?” *chefs kiss*. from what i’ve seen sungchan is the one receiving  the most criticism (read hate) about his performance. look, i’m not going to argue that out of all the members who filled ty’s part he was the weakest. (im not trying to hate, but imo his performance was the weakest, u can disagree with me). he definitely less comfortable with covering taeyong’s part than anyone else was - including shotaro. i think most of the criticism is coming from the fact that he just looked anxious and unable to throw himself into the choreo and when comparing him to taeyong (who again just -- idk he’s unexplainable) his performance does fall a little flat. imo the rap was okay, his tone is actually somewhat similar to ty. i really think that most of the hate is stemming from the execution of the choreo rather than the rap. HOWEVER... calling him “stiff as a board” and commenting “cap” emojis does absolutely nothing except spread unnecessary hate. sungchans position is NOT as a dancer. he is only listed as a rapper. shotaro, however, is listed as both a dancer and a rapper. not to say that these listings are the end all be all of a member’s position, but because they are so new they are a decent representation of what SM thought their strengths were. we would love our idols to be aces at everything, but they are human and humans have their strengths and weaknesses. compared to taeyong, and also shotaro, sungchan does not have the technical ability nor the confidence while dancing. I’d like to believe that anyone who analyzes their performances and takes an objective view can understand where i am coming from. 

tldr: you are placing unrealistic expectations on a rookie who’s main position is NOT main dancer. you are asking him to fill the shoes of arguably one of the most charismatic and talented rappers, leaders, and centers of 4th gen kpop... as a ROOKIE. his performance is most likely going to show cracks of being relatively new to the stage. its okay to acknowledge that, but don’t be fucking rude when discussing his performance. 

// the amount of posts i’ve seen calling sungchan “untalented” “stiff as a board” just im so fucking over it. yes, his performance had its weaknesses but name-calling and just straight up hate does nothing to help a performer and just ruins everyone’s mental. you can bet your ass that every single one of these boys has worked their ass off, given up unimaginable things, and faced challenges to get where they are today. not to mention that (in particular the case of sungchan and shotaro) these boys are young. the other youngest/newest members have had about 2 years (yangyang, xiaojun, hendery) to become accustomed to the criticism and also hatred that comes with being in the spotlight. sungchan is less than a MONTH older than me. shotaro is just a year older than me. my best friend is legit older than both of these boys. idk your age but think about yourself at their age, or where u think you’ll be at their age. they have accomplished SO much and are so young. they’re 19 and 20 and in an internationally recognized band. we know that a lot of these boys (and idols) do read our comments. i don’t care how much media training you’ve received, how strong your mental is, getting called untalented and being hated on is going to take a toll on your mental. along with that, what is the NEED? to spread hate? to show that “huhu, im such a big deal that all these people are responding to me”. like, legit wtf do u gain from this? 

// when you are a performer you do open yourself up to criticism, it is part of the job. but criticism and hate are two very different things. to get where nct is today, every single member has to be humble enough to accept guidance AND constructive criticism. we all know how much the boys value nctizens opinions and take them into account when performing. when you are a performer like that you also have to criticize your own work. no matter what profession you are in, no matter what you do, you analyze ur own work and attempt to make it better. i can all but assure u that shotaro and sungchan (and all the boys) know their strengths and weaknesses, know when a specific move, performance, or other area of their ability is not up to par (or they just want to improve which is imperative to success in the music industry)

just be a decent human being. put urself in all of the boy’s shoes and think “hmm how would i feel if some stranger on the internet said this about me” before you make hateful statements. 

again, there is nothing wrong with having a discussion and understanding that humans have strengths and weaknesses, but don’t just put someone down because u feel like it.

//

in case you aren’t convinced to be a decent person, have a more logical (?) approach -- not that u should have to shown a dissertation to be a decent human but i digress.

(think about how many other songs the rest of rap line has to perform, logistically, who else are you going have cover the entierty of boss and 7th sense.)

rap line is: taeyong, mark, lucas, hendery, jeno, jaemin, yangyang, shotaro, sungchan, and jisung (?).  

everyone except lucas and hendery (and jisung but bb was injured :( ) covered ty’s part in some aspect. in fact, people not in the friggin rap line helped cover some of ty’s rap (johnny, jaehyun, haechan im looking at you) and other members covered dancing and center parts when they were asked to.

mark is in just as many tracks as ty and was RUNNING around to get to the next song this entire concert. you can legit see his outfit change with jackets and hats. he filled in for ty in kick it (group effort but u get the point) but in 7th sense just to the way that the song works and the dance etc etc, you can’t have mark doing his part as well as ty’s without it falling flat and taking a huge toll on mark. same with boss, marks filling just as big a role as ty and like, legit how do u give this boy mOre lines than he already has. (u can see that sm did a similar thing with jeno and jaemin in the beginning of maw, jeno covers the first part and then jaemin the rest of the song because jaemin can’t leave an open space at the vEry beginning of the song) (10/21 total performances)

lucas isn’t in as many as say mark but he is in boss and make a wish (boss being very hard for him to cover ty’s part, and jeno and jaemin covered maw. if i’m being completely honest i don’t think lucas has the same tone or technical ability to fit into ty’s parts in the songs as much as say - sungchan on a pure technical and tone pov (6/21 total performances)

hendery, similar to lucas isn’t in an absurd amount of tracks but still enough to tire a guy out lol. because of him performing full choreos in other songs it doesn’t make sense for him to learn a completely new choreo while simultaneously having to memorize and practice the others songs. also, in a similar vein of lucas, i just don’t think hendery is the first choice when choosing someone to cover ty’s parts (dont kill me hendery and lucas stans lol) (6/21 total performances)

jeno while jeno isn’t in the sheer number of performances as other members, he does end up covering ty’s starting part in maw (see reasoning for jaemin above). this by proxy means he covers the maw part in resonance. while he does a fantastic job covering the starting part, asking him to learn the entirety of boss or 7th sense would be a fuckton of work. u can legit see him yEEt himself out of camera view after his part - not to mention again that he had an hour to practice lol (6/21 total performances) 7/21 covering

jaemin - first off u can literally see jaemin’s energy fall throughout the final song the boy is so tired by aneyway... it makes total sense for him to cover maw as he already knows the choreo and it take less effort than learning an entirely new song. also, when ur comparing popularity/center time between jeno and jaemin vs. hendery (even lucas sometimes) they simply have more, and when u aRe in the center u have to expend more energy becAuse u are holding the performance together (6/21 performances)

yangyang let me get my yangyang simping out of the way, but this boy is so fucking talented and his rap deserves more praise. lightbulb compared to other songs ty is in, is a more melodic and emotional based song. there is no choreo, therefore the person covering the rap just has to focus on the rap itself rather than the rap AND the choreo. imo this was the best possible choice for someone to cover ty’s part in lightbulb (6/21 total) 7/21 covering ty’s part

shotaro shotaro is only in 4/21 performances. it simply makes sense for the rap line member with the fewest songs to perform to learn a a full choreo. as stated above, 7th sense is the more technically difficult of the songs that required learning and covering a full part. assigning shotaro (the dance line member) to the more challenging choreo is just the easy choice -- especially if ya’ll gonna come for sungchan’s dancing skills, give the damn song to shotaro smh (4/21 performances) 5 when covering 7th sense

sungchan tied with shotaro for the fewest performances (just by nature of being the newest members) in the same way that it makes sense for shotaro to learn a full choreo, it makes sense for sungchan. reasoning for the assigned songs above. (4/21 total performacnes) 5 with boss

// the songs where they didn’t have a designated member cover most/all of taeyong’s parts were in the 127 songs as well as in baby don’t stop (ten and taeyong duet). 127 is the most veteran of the nct subgroups, and is in general just more accustomed to filling in parts (ie winwin - screw u sm lol). they have johnny who trained as a rapper who can fill in, jaehyun, haechan, and yuta have all proven that they can cover rap with more a sing-rap style and mark can take/cover parts when it is logistically possible. 

// in 127′s songs although ty does often take center and many lines, in general 127 is just a more well rounded group. (don’t come for my ass). in the same way that dream has an undeniable chemistry, 127 is the same way. when you work with the same group of people for an extended period of time without many (if any) changes you just build better chemistry. in nct u taeyong takes more of the spotlight just due to his charisma and raw power. think about it. which performance suffered more due to taeyong’s absence: touch / kick it or make a wish / boss / 7th sense. 

also: because 127 is a fixed unit all the boys know the choreo and have consistently performed it at concerts allowing for member to step in where they know they are comfortable without the amount of discussion it might otherwise take in a rotational group

// take a second to think about a certain performance without taeyong in it. it may just be me, but i think 127 fare much better without their leader than any rotational group without taeyong very (firmly ?) bolstering the performance in the center. (taeyong doesn’t hold all these titles for nothing, he is truly another breed)

// in baby don’t stop they didn’t even attempt to cover taeyong’s absence. idk if that was ten putting his foot down and saying that he didn’t want someone covering the part or if it was more of a choice based on marketing and fanservice. baby don’t stop is truly ten and taeyong’s song and idk if even pairing 10 with a dancer with ty’s vocal in the backtrack would have received positive feedback. 

//

if you have somehow made it this far props to you lol. a rant that started because i wanted to defend sungchan has turned into a long analysis of members... whoops.

tldr: just be a decent human being. everyone in nct is human. a talented, multifaceted, human with strengths and weaknesses. being a nctizen doesn’t mean not being proud, disappointed, happy, or any other emotion about the boys. but it does mean treating the boys and other fans with respect. 

[bombshellbois]

Mommy Issues

@harringroveweekoflove

Harringrove Week of Love Day 4: School Dance

Rating: T

Words: 1633

Summary: Steve and Billy have a philosophical discussion that they're both way too sober to have.

“Are you a Mama Bird or a Mama Bear?”

The question comes way too early in the dance when the kids are only just barely beginning to cross party lines and venture into the neutral ground that is the dance floor. Steve has only had one cup of punch and he barely spiked it because he’s trying to make the flask in his jacket pocket last. So he still feels way too sober for this brand of bullshit. 

“Hargrove,” he sighs. “We’re the only people between the ages of 16 and 40 at this dance.” He doesn’t have a follow up for that. He could end it with ‘Could you not be a dick?’ but he’s honestly not sure that’s in the cards when it’s Billy. Sure, he’s trying to be ‘better’ in some vague and unidentified way, and he is here with Steve acting as emergency chaperones for the school dance since there’s a shortage of people willing to be out after dark in this town these days. He just still doesn’t do the ‘nice’ thing. Ever. So Steve just kind of leaves the sentiment hanging and hopes Billy takes something away from it. 

“Please. You’re a 40-year-old woman at heart,” Billy scoffs, pulling a cigarette from the packet in the breast pocket of his white dress shirt. Which looks annoyingly good on him. He even buttoned it all the way up. Steve isn’t sure if that’s because of the formal setting or the scar on his chest, but the end result is the same. Billy Hargrove can absolutely pull off shirts with high collars and Steve has to live with that knowledge. “So. Are you a Mama Bird or a Mama Bear?”

“Dude, I don’t even know what that means,” Steve groans. “I’m not a mom at all.” Glorified babysitter who doesn’t actually get paid and spends more time fighting monsters than trying to monitor who’s watching a scrambled porn channel, sure. Mom? No way. 

“I saw that dish towel over your shoulder at Byers’ place. You’re a mom.” Billy looks at his cigarette like he’s really contemplating lighting it. 

“You can’t smoke in here.” Steve realizes a moment too late how that sounded, and Billy is already grinning widely. No taking that back now. 

“Yes, Mama Steve,” he says, tucking the cigarette behind his ear. 

Steve downs the rest of his punch. He’s kind of surprised that Billy remembers he was wearing a towel over his shoulder almost a year ago when he’d be hard-pressed to remember a single thing Billy was wearing that night, much less some accessory. But then again, he’s pretty sure he got a concussion that night too so… that probably has something to do with it. 

Halfway through the night, Mike and El have ventured out onto the dance floor. They’re probably a little too warm and snuggly for Hopper’s preferences but he’s been remanded to staying home and watching The Magnificent Seven again. Steve has no doubt he’s watching the clock to get a head start on beating the traffic on that 9 pm pickup time. 

Dustin and Will are huddled in the safety of the boys’ side of the gymnasium, heads together like they’re forming some kind of strategy. Except they never actually make any attempt to move or anything. Steve isn’t even sure if Dustin has permission to dance at this thing. Long-distance relationships have too many nuances and kudos to Dustin for trying one right out the gate. He’s a brave kid. 

Max and Lewis are loitering by the punch bowl and every time Max makes a vague motion towards the dance floor, Lucas appears to look around and then decline. Steve pauses in his kid check to follow one of Lucas’s covert glances to where Billy is staring the kid down from across the room. Well, that’s probably something he’s gonna have to deal with because who else is going to? 

Steve comes back to stand beside Billy, pulling the flask from his pocket and offering it up. “So… what does that stuff mean?” he asks, because he has to make conversation about something, and what do he and Billy even have to talk about that’s not horrifying? 

Billy reluctantly pulls his eyes away from where he’s glaring at Lucas. “What?”

“Bears and birds. What was that about?”

Billy takes the flask, shakes it experimentally, and pours a large amount into his cup of punch. Steve’s hopes of even getting a mild buzz to offset the pain of this whole affair drain into Billy’s cup with too much of his stash. “Christ, Harrington, didn’t you even pass the animal chapter in biology?”

This is going great. “Pretend I slept through most of it.”

Billy rolls his eyes and takes a sip from his punch. Then he empties the flask into it entirely before handing it back to Steve. “You some kind of superhero or something?”

“Sorry?” Steve tucks the empty flask back away, making a mental note to never try and share with Billy again. 

“No parents, no sleeping, chasing monsters with a fucking bat…”

“I’ve got parents.”

Billy takes a longer sip from his punch and sighs out through his nose. “You’ve got landlords. That’s what you’ve got.”

Steve takes a breath. Counts to five. Reminds himself that dealt with a Russian interrogator for longer than he’s dealt with Billy so far, and if that didn’t kill him then neither will this. And he only has to deal with him for another 90 minutes. 

“What’s the difference between a Mama Bird and a Mama Bear?” he asks again. 

Billy looks him up and down, and for a second, Steve thinks he’s going to refuse. Make some snide comment and put them right back at the place they’ve been stuck for weeks and months now, with Billy hovering around the edges of Steve’s life while trying to re-integrate himself with Max. Seems like if anything, he’s at least realized that Max is something good in his life and that he’s a little short on good things so he should probably hold onto that. 

“It’s like… a mama bear is gonna protect her kid, right? Baby bears are all cute and hikers think they can just go pet it because it’s friendly and then the mom shows up and rips them apart,” Billy says. Steve is sure he notices that Max grabs Lucas’s hand and drags him onto the dance floor, but he doesn’t comment on it, and that’s some growth right there. 

“That’s horrifying,” Steve says in a conversational tone that implies he understands and Billy should continue. 

“Where the mama bird straight up shoves her kids out of the nest so they’ll learn to fly.”

“That’s… also horrifying,” Steve says, in a new tone that implies that… that’s horrifying. “Mama birds are assholes.”

“You gotta show the kids the door sometime, or they’ll sit in the nest forever and eventually starve when winter comes,” Billy says, like that somehow makes it less terrible. Send a kid plummeting towards the ground to teach them to leave home? Nest. Whatever. 

“Well, I wanna be the bear then.” 

Billy looks him over, a look on his face that Steve can’t for the life of him decipher. “Yeah. You are a Mama Bear, aren’t you? You chase all the monsters away.”

Steve shrugs. “I mean, I’m not gonna leave that up to Dustin. Have you ever seen him swing anything? That kid is a goalie at best.” And not a great goalie either. Passable, but he’s definitely not someone you trust with hitting anything. 

“What happens when the monsters come and Mama Steve left for college?” Billy presses. 

“I’m not going anywhere.” Steve has a stack of college rejection letters that speak to that, but Billy doesn’t need to know that. But he’s also stopped applying because one, he’s not smart enough to get in. Obviously. And two, seriously, none of these kids can get any power behind a swing. Someone with a decent batting average has to be around. “You talk like you’d rather throw a kid off a ledge and hope for the best.”

“Yeah, because that’s how you find out if they’re gonna make it,” Billy says, taking another swig from his punch. 

Steve doesn’t think that’s remotely true. Billy is no bird, even if he’d like to be. He did a lot of damage overstepping every boundary ever while he was trying to keep an eye on Max, and maybe he’s scared of doing it again. Maybe. They don’t exactly talk about stuff like fear and emotions. Or much of anything unless they’re really bored and forced to make conversation because they’re stuck around a bunch of kids. Conversations like this feel like poking the surface of a lake with a stick and trying to guess where the deep parts are.

Steve kind of wants to ask if Billy was once the baby bird in this weird National Geographic metaphor they have going. He doesn’t because he thinks he knows the answer and he also thinks that Billy will probably take a swing at him if he pokes. They’re not there yet, and Steve hasn’t figured out if they’re heading there or not. 

“Well I know they’re gonna make it,” Steve says, taking Billy's cup of punch and draining it because he really needs at least a bare-bones burn down the back of his throat to finish this conversation. “Because I’m gonna be here.”

Billy eyes him, but he doesn’t argue. Eventually, he just scoffs and rolls his eyes. “Fine. Whatever. But I’m kicking all of these brats out of Hawkins when they go to college. We’re not staying in this hick monster town forever.” 

Now that is a level of Mama Bird that Steve can work with. “Deal.”

[silverducks]

Game of Thrones - Jaime Lannister

A rambling character study of Jaime Lannister from Game of Thrones.

Part 1a – Jaime’s Character Arc

This post is going to look at my thoughts on exactly how I see Jaime’s character arc in Game of Thrones, based on just the show. But it’s also to set up my future posts where I explain why I find it so darn hard to understand why he had the ending they gave him. At least beside the obvious - because the writers wanted to.

Yeah I know; I’m late to the GoT train wreck of a final series. But I have a lot of thoughts and hence why I’m here typing away.

(And this is where I start to really go all English Lit exam analysis on you, so a warning for anyone who actually might be reading this post, LOL!)

My Intro to this series of posts btw, is here.

So, spoilers be below.

Ok, so to help explain why Jaime’s ending makes no sense, I firstly need to explain what exactly his character arc is in the show, or at least how I perceive it. As mentioned in a previous post on honour vs loyalty, for Jaime I see his character arc being about two, interconnected things – redemption and identity.

In series 1 and 2, he’s not a nice character – he’s a self-righteous, proud, full of himself, snob. He’s arrogant and cocky and says pretty cruel, snide things to characters we do like. And as we see him through the PoV of characters like *Mr Honourable Eddard Stark, Jaime is pretty despicable to say the least. And that is before we even get started on the whole pushing a boy out of a window because he caught Jaime having sex with his own twin sister. Oh and just as an FYI, Jaime is also called the Kingslayer because he killed the King he was sworn to protect. So yeah, most people watching the show don’t like him at the start, and neither do most of the other show characters we do like.

And from a story telling perspective, Jaime’s character can either get worse, better or stay the same as the show goes on. And in this story, he gets better, with a few slip ups along the way, and it’s fascinating and glorious!!

Like, I can think of nothing that even comes close to the amazing way Jaime Lannister’s character develops in Game of Thrones and how we as a viewer change in our perception of him.

But that only makes his ending so much more frustrating and disappointing…

Before I start rambling away though, just as a point to note; I’m using terms like good and better person and right and wrong quite loosely here. Obviously the world, even in a fictional world, isn’t all that simple. As that would be a whole other massive thematic and philosophical thesis, and it’s not really that relevant, just take the “general” meaning of the ideas, but with the understanding I know it’s a bit more complicated. Where I think it does become more relevant, I’ll expand on the ideas in that particular context. If I sound a bit flippant at times, it’s because of the whole black vs white vs grey, and how there are “rules” in storytelling that wouldn’t necessary apply to our own, real life reality. There are things that we need to take into account when we analyse characters in stories vs actual, real people. And on a side note, this is one of my favourite things about Game of Thrones, the complexity and moral ambiguity of both its characters and its story themes. But yeah, that’s a whole thesis in its own right.)

Redemption Arc

So, redemption. In order for us to start to like this character, and see him as a good guy, he has to go through a redemption arc. Like pretty much rule number 1 of storytelling. That means we have to watch him and believe in him becoming a better person. Conversations like the whole oath vs oath issue, or his chat with his father about his nicknames in series 1 makes us take notice of a character, maybe even be more invested in a character and their shades of grey, but it’s not really redemption. And considering how far in debt he is in the good vs bad guy department, he has a lot of work to do.

And my goodness, he does it. Like, I mean, this guys’ redemption arc is astonishing! He goes through so much, rethinks and challenges everything he once thought/knew about himself and his world, faces all his past wrongs and bad character traits and becomes not even a better person, but a hero! He goes from a bad villain who kills kings and pushes kids from windows, to becoming one of the main heroes we’re rooting for by the end of the story.

(A quick disclaimer here, like I’m not saying Jaime is ever, or ever will be perfect, heck, he’s human and this is Game of Thrones and Jaime’s more messed up than most. But when you think back from where he started and where he’s been, it sure is impressive – if we ignore his actual ending that is, LOL!)

And his glorious redemption arc all pretty much starts around the time he starts his fun road trip with Brienne in series 3.

So, just to give a few of his finer redemption points (and just remember his series 1 and 2 actions and our opinion of him in contrast):

He stops Brienne from being raped and gets his hand cut off for the trouble (Ouch! But suffering, especially from doing something good, gives lots of redemption points.)

He risks his life to save Brienne from being mauled to death by a bear. Like, he’s recently lost his sword fighting hand and has no weapon, but he jumps in the bear pit anyway and puts himself between the bear and Brienne. He then helps Brienne out of the bear pit first and then only just makes it out alive himself. Oh and if that wasn’t enough, he basically tells the bad guys that he’s leaving with Brienne, or they will have to kill him. Like he says this to the guy who not so long ago chopped his hand off. (Just think on that one a minute ok.)

He keeps to his promise/oath to Catelyn Stark and continues to help her daughters by giving Brienne a priceless sword and some stunning armour so she can find and help them. (This also helps Brienne, because he knows she’s not safe in Kings Landing, and gives her a purpose, because he knows that’s what she needs.)

Firstly offers to sacrifice his own life needs and goals and those vows he’s now starting to hold more dear to save his brother. When said brother then screws up that opportunity, Jaime then also helps said brother escape from being killed, going against his sister and father, who want his brother dead. (Yeah, the Lannisters are an interesting family… And you wonder why Jaime is a little messed up?)

Takes RiverRun without any bloodshed. (Like pulls off the perfect bluff in GoT siege history so that he can make sure his army succeeds, but no one is killed. (I don’t count the Blackfish, who chose to fight to the death rather than escape/get taken prisoner.)

Joins the fight for the battle against the dead, even if it also means renouncing his entire house and lineage and putting himself at the mercy and judgement of pretty much all his enemies and all he has wronged. (One of which has a habit of roasting her enemies alive with Dragon fire)

Oh and also risks his life in above mentioned battle against the dead.

A pretty impressive list imho, lots of redemption points there and that’s not even including everything else he does. Following the general storytelling themes of forgiveness and redemption, Jaime basically ticks all the boxes by all the good deeds he’s now done. And that’s one of the major reasons why we as viewers now love him so much as a character.

But that’s not all, of course. As we discover also in series 3 (a pretty important series for our Jaime), it’s not even just about him doing good things, but we realise as an audience we’ve (intentionally by the show) completely misunderstood him! Yes, he did kill the King he was sworn to protect, but only because said King was mad and was about to blow up the entire capital city where hundreds of thousands of innocent people live. And not only did he do this incredible honourable thing, but because it did go against his vow as a Kings Guard, he’s ever since been derided as the Kingslayer, Oathbreaker, Man without honour. A horrible set of nicknames that he’s borne, because he doesn’t think people would care or understand anyway. (Of course, I want to add in here that it’s partly the negative trait of pride too, thinking himself as the Lannister Lion, above having to explain himself to the sheep.)

Anyway, all this has worn him down a lot over the years and it’s messed him up good and proper. It kinda makes your own initial dislike of Jaime through *Mr Honourable Eddard Stark’s eyes seem a little unfair. Especially when the guy was barely more than a kid at the time (16 or 17 I think). And his defence mechanism to deal with this is one of the reason’s he is so cocky and arrogant – he uses his dry, often cruel humour, to mask that he does actually still care. In fact, it’s worked so well, I think at the start of the show, Jaime believes it himself; that he is a horrible, hateful person. But he did have that honour inside of him once; he did care and try to do what was right. And when you think back to his scenes in series 1 and 2, they take on new meaning now. He’s no longer such an evil arrogant, cocky knight we all pretty much immediately hated.

And as this revelation happens around the same time as he starts doing all those good deeds, it all helps work together to make us re-evaluate Jaime and grow to love him and become invested in his redemption arc even more.

(*I feel the need to add a disclaimer here, I do like Ned Stark a lot as a character. But it is interesting that as the show goes on, he almost does the opposite to Jaime – we see he actually isn’t always as good as we thought, that perhaps honour tripped into bitterness and prejudice a few times. That perhaps Ned, as much as we like him, is less full white and more speckled in shades of grey after all...(which makes him a more interesting and nuanced character imho, so rather than undermine him, it makes him more human.))

And when I rethink Jaime’s scene with Robb Stark when he’s captured, where he gives Robb the choice of ending the war if Robb can beat him in single combat, well, it adds even more depth to his character. Of course, Jaime knew he would likely win, as did Robb, so Robb refused. And as a viewer who was all Stark=Good, Lannister=Evil (except Tyrion) at the time, I was glad Robb wasn’t stupid or arrogant enough, like the Kingslayer Mr Jaime Lannister, to fall for that.

But then I remember the parallel in series 6, when Jon Snow (Stark=Good) gives exactly the same choice to Ramsay Bolton (Bolton=Spawn of Satan). Ramsay can either fight Jon in single combat, or they can all send their troops to die in their war. And as a viewer now, NOW! I think Ramsay is weak and awful for not agreeing (because he knows he can’t win too) and so sending all these soldiers to an early grave. Which is like 100% opposite for pretty much the same scenario of its series 2 counterpart. Of course, we HATE Ramsay and he has no, I mean literary NO! redeeming qualities, unlike Jaime, who we never, ever hated in the same way. But it does make you think about the whole idea of perception as well as actual deeds here. And that actually Jaime, you could argue, was doing the honourable thing by asking Robb for single combat, to spare the lives of both of their armies… I mean, obviously he wants to win the war, but maybe, he also wanted to spare as many lives as he could, too – like Jon in the series 6 equivalent. Maybe not so arrogant a request from our Jaime after all…

And another point to add in here, which further adds up to Jaime’s redemption arc, is Lady Brienne of Tarth. Yes, I’ve saved her to last for a reason, as she is, imho, THE catalyst for this amazing change we see in Jaime. If you’ll notice, a lot of Jaime’s good deeds involve Brienne and start happening around the time the two characters meet. And that very fact further proves that Jaime was and can be a better person.

He does not like her at first and she’s not quite your typical maiden. Not only is she a “beast” (to quote Jaime), but she’s a fighter, full of honour, self-sacrifice and steadfast in her purpose, and more than a match for him. Oh and she’s also his captor, dragging him to Kings Landing with a rope around his hands so they can trade him for the Stark girls.

So yeah, not the most cordial of first meetings. He pokes fun at her, trying to get her to snap, to prove she’s not as good as she seems. But she doesn’t, because she is that person, she is true to herself and not pretending. Unlike so many people Jaime knows, she is genuine.  

And he’s impressed by her skill and courage as a fighter as well. She is able to best him in the sword fight (granted when his hands are tied and he’s been sat in a cage for over a year, but he is like renowned for being one of the best sword fighters in the entire realm). Also when she fought the men who had murdered the women they found hung along the road – both as justice and to give the murdered woman a proper burial. She isn’t all talk, she can, and does fight. I bet Jaime wasn’t expecting that! And as sword fights are his thing, what he pretty much defines himself by and is most proud of, that’s a pretty big for tick from Jaime for Brienne right there.

Basically, she is a) an honourable person b) sticks to her oaths c) also able to fight (and therefore protect people) and d) refuses to let him get the better of her. The perfect, chivalrous embodiment of a brave, honourable Knight. A true Knight in all but name, whilst Jaime is now a Knight in nothing but name.

Now, I’ll discuss this more in the identity arc bit, but basically all this challenges Jaime, makes him rethink his own bitter images of himself and his world. She reminds him of his younger self, when he wanted to be that honourable Knight. And seeing this reflection of his younger, naïve and less world weary version of himself in Brienne, it helps to trigger this change in Jaime. It makes him remember who he once was, what he once stood for and believed in; that ideal that Jaime once believed is actually possible - of the brave, worthy Knight people sing songs about. And it started to make him want to be that person again. And this in turn, makes him want to start to do the right thing, to start to put honour first, which paves the way for his redemption arc very nicely.

I won’t talk too much more about Brienne here, because I think her relationship with and influence on Jaime deserves its own post. But I do think it is the specific personality of Brienne, together with the very fact that she is an ugly, “beast” of a woman, that triggers Jaime’s arc in just the right way and enables it to be so profound.

One last note on his redemption – I’ve said before it was partly his Lannister Lion pride that caused some of his suffering in relation to his nicknames. And indeed part of his arrogance is because he does think he’s better than everyone else (although not to the extent we first thought). He is the Lannister’s golden son after all and the Lannisters are basically the most powerful and wealthiest House in Westeros. It is a bad trait, yeah. But even this, even this! gets sorted out in series 8. From my list of redemption points, see the second to last point above – he faces judgement. Like a guy who had too much pride to admit he actually killed a King to help save hundreds of thousands of lives, actually, of his own volition, faces his enemies to be judged and to atone for what he has done wrong. Yeah, he also offers excuses at said trail, but if I’m honest, they do sound quite genuine to me. Is it any worse than what your typical soldier would do in a time of war? Fight in a battle and kill people? Try to capture the person (Ned) who’s wife captured your brother to avert a war? And we already know now he was justified in his killing of the mad King.

So, all in all, with this new insight into Jaime’s character, especially also seeing him through the increasingly positive eyes of Brienne (more on that later), who we know really is good and honourable, we have both a better understanding of his past actions, see his ongoing internal struggles and conflicts as he strives to do what is right and along with all his good deeds as the show goes on, we see him slowly (with lots of unfortunate set backs as well) become a better person. So come series 8, his redemption arc up to THAT scene, is glorious and basically complete.

And then there’s his identity arc. The other side of his character development, which is just as important for me and very much interconnected with his redemption.

(Like, seriously, there’s so much going on with this character that I could write essays, no a whole thesis I bet! I seriously can’t wait until I get to read him and Brienne’s chapters in the books and discover even more sides and shades to this character.)

But I’ve rambled on for far longer than I intended on his redemption arc, so I’ll save his identity arc for another day. (And hopefully it won’t be as long). Then we can get into the fun stuff like that hand he lost, that famous bath scene and his, how to put this, interesting relationship with his sister…

#If you were brave enough to get this far #Thanks for reading #And hope this made sense #Just my rambling thoughts #Yeah, I have a lot

[night-unfurls-its-splendour]

The Critique of Manners: Part III

~Or~

A Somewhat Indecisive Review of “Emma” (Miramax, 1996)

I have a feeling this review is gonna be a little harder for me to write. Everyone knows that recaps and reviews are most entertaining when the writer has an intense dislike (or intense feeling of any kind) for the drama they’re reviewing. It falls to other writers to pan or praise this film as they will, but I simply don’t have many particularly strong feelings about it at all. I have neither that repulsed dislike for this movie such as I did for Emma 1997, nor that disappointed frustration as for certain aspects of Emma. 2020, but neither do I have a deep, profound love and appreciation for it as I do for Emma 2009.  

Written and Directed by American Screenwriter, director and actor, Douglas McGrath, Emma (1996) is rather what one expects it to be: a 90’s romance film. Perhaps it’s because I had expectations due to the era in which it was made, but I think I have a tendency to excuse some of the problems with this film. There are many unnecessary additions (for comedy’s sake usually and often quite cringe-y) and one definitely can’t claim that the dialogue hasn’t been tampered with. I don’t normally side with the “I do so miss Austen’s biting wit” crowd but, by ‘eck I felt it this time. That’s because Austen’s Biting Wit™ just doesn’t suit a fluffy 90’s chick flick (which this film is in a way that other big screen Austen adaptations of the time just aren’t – and I think approaching this film from the 90’s chick flick perspective is probably the best way to digest it.) This version, more than any other (except perhaps 2009) brings the concept of Emma-as-Matchmaker to the fore with a particular emphasis precisely because it’s a concept that fits well with the rom-com style of filmmaking used here.

The bones of this review, like my review for the ITV version, were written six years ago following my initial viewing only a select number of portions survive from that review (which is still on IMDb).

As with all my reviews I'll be comparing the script, characterizations and plot to the book and commenting on the authenticity and attractiveness of the costumes, and suitability of the houses and sets.

Let’s dive in.

Cast & Characterization

Emma is arguably the easiest of Austen’s works to read because of Emma’s generally good (if condescending and overly self-confident) character, and Mr. Knightley’s sober, mature but exceedingly pleasant manner. I had my doubts about Gwyneth Paltrow playing an Austen heroine, but I at least had faith in Jeremy Northam’s ability to portray the mature Mr. Knightly. My expectations were not entirely disappointed in either case.

My prevailing feeling about this film is that it’s not so much set in Jane Austen’s Regency England, but in an American fantasy of what Regency England was like. Perhaps the biggest factor that reinforces this impression is (of course) the casting choice for our leading lady, Gwyneth Paltrow.

Freckled, ruddy and thin as a twig, Gwyenth didn’t quite, to my mind, fit the physical description of Emma, who is supposed to be “The picture of health” according to Mrs. Weston. Add to this the Regency beauty ideal of a soft and shapely figure with regular features. Fair hair was generally preferred (and I have always imagined Emma as blond, although I’m given to understand that Austen’s idea of pretty generally favored dark hair), so I can’t fault Gwynnie there. What I can fault though is her so-so British accent.

I recently learned that the reason McGrath thought Paltrow would be a good choice was because she’s the only Texan he’d ever met who’d managed to entirely throw off her native accent; I guess he decided that if she could do that she could do any accent work? I guess? Seems questionable to me.

You know Joely Richardson was considered for this part? Gorgeous, refined (British) GODDESS Joely Richardson was passed over because Gwyenth managed to shake an embarrassing accent.

I hate American directors.

I’m not sure if it’s just part of the accent, or her attempt to sound upper class, but on this most recent re-watch it hit me for the first time how very nasal many of her line deliveries are. She also has this problem with looking (and sounding) sort of vapid and… just what is happening here?

Is she having a stroke at the end there?

A bigger problem than Emma’s casting, however, is her characterization.

Part of the above mentioned script tampering is in lockstep with some of the issues with Emma’s characterization here. Her very teenager-esque swings from vowing to never make another match again to immediately trying to think of another guy to set Harriet up with, and her getting carried away in potential scenarios “But if he seems sad I shall know that John has advised him not to marry Harriet! I love John! Or he may seem sad because he fears telling me he will marry my friend. How could John let him do that? I hate John!” (Especially when you never even really get to meet John Knightley in this version? Ugh, pass me with this shit) is so bizarrely childish it’s a little hard to stomach. She spends the movie going back and forth between mature and manipulative to childish and naïve and it just… doesn’t work for me.  Emma can be all of these things but the transition from one extreme to another here seems a bit disjointed to me.

Knightley was a bit of a disappointment to me in this version. That’s not Jeremy Northam’s fault because I can’t think of a better choice they could have made. McGrath showed much better judgment with his choice for Mr. Knightley than he did with Emma.

My biggest problem with this interpretation was how laid back he was when he was supposed to chastising Emma. Their quarrels became more like mere disagreements so the proposal line of lecturing her and her bearing it as no other woman would have isn’t entirely earned. Even in the big scene at Box Hill where Knightley is really supposed to lay into Emma, he starts off pretty solidly, but by the end so doe-eyed and apologetic it fails to deliver the sting of rebuke that is Emma’s biggest learning moment in the story. Perhaps they were trying to go for a more disappointed feel (the kind that makes you feel worse than being shouted at because you really respect the person you let down) but it just didn’t come through for me.

Also of note is the fact that, (I assume) because John Knightley isn’t really allowed time to be a character in this film, McGrath took some of John’s introverted tendencies and transplanted them into his more convivial older brother (“I just want to stay home, where it’s cozy.” – I mean I feel that, but this isn’t something George Knightley would say.) 

Onto the less central characters

I question also the choice of Toni Colette for Harriet Smith. I mean I actually liked her performance more on this watch than previously but I just don’t think she’s pretty enough for Harriet, and she looks a bit clumsy (though that might have more to do with her costumes.)

I also noted that McGrath bumps Harriet’s comprehension skills up just a scooch. Emma never has to explain the “Courtship” riddle to her, Harriet figures it out on her own after a while, while she never manages to in the book.

Now we come to the crux of Jane Fairfax, played by Polly Walker. I don’t care for this choice. My issue is the simple fact that she just isn’t believable to me as a demure, wronged character like Jane Fairfax. Seriously she looks like she would sooner throw Frank across the room than take his cruel teasing, and not in the subtle way that Olivia Williams managed to. They never even utilized her by including some of Jane’s more pointed returns to Frank’s jabs, which they even managed to squeeze into the massively cut down TV movie.    

Speaking of Frank; Ewan McGregor, though generally delightful, was so under-used. Frank and Jane’s plotline always kind of gets shafted in Theatrical release adaptations of this story. It’s not as bad here as it is in say, the 2020 adaptation (they were in that version so little I actually forgot what their actors looked like), but it’s still pretty stunted.

I find it interesting that Ewan McGregor himself thinks his performance in this movie isn’t good; and I’ll agree it’s not his best (certainly it’s no Obi-wan Kenobi) but I thought he did a pretty good job with obviously unfamiliar material

Also if the Davies screenplay of ’97 made Frank’s character too caddish, I think this version didn’t make him caddish enough. I mean he’s hardly around enough to really develop his flirtation with Emma, and they merged Strawberry Picking and Box Hill into one sequence so we never see Frank’s ill humors. I can perhaps excuse this, since it seems like a nuanced story really wasn’t what McGrath was going for here, I think. This is a lite version of the story; schmaltzy fluff for teenage girls’ movie nights. Frank’s ill humors wouldn’t really have fit the tone of this version at all.

Interestingly enough, though it’s taken me a long time to make this decision, I think Alan Cumming might be the definitive Elton? He’s the only one who doesn’t immediately read as a slime ball from the get go. I mean he’s got all the warning signs that Austen wrote into him, but no more than that. He’s not slinking about greasily or obviously pandering (at first), so Emma’s uneasy realization of what’s really happening here isn’t a hundred miles behind the viewer’s (maybe just fifty).

There are as many Mrs. Eltons out there as there are adaptations of this story, and they’re all pretty great (funky accents aside), but other than the 1997 take, this one might be the least great to me. She’s not nearly pushy enough, because Mrs. Elton would never let Emma prompt the conversation when she could do it herself.

  Also, I think McGrath misunderstands Mrs. Elton’s brand of New Money vulgarity. He has her talking with her mouthful, clanking her utensils on her plate as she eats, putting biscuits which she’s bitten into back onto communal plates, which I think even Mrs. Elton would know not to do. Table manners are pretty basic; the couth that Mrs. Elton lacks is of a more nuanced social kind – for instance, what is and isn’t considered gauche to talk about (like how big one’s brother in law’s house is or how many horses he keeps.)

(A sudden thought has just occurred to me: is Mrs. Elton just a more mean-spirited Hyacinth Bucket from Keeping Up Appearances? “It’s meh sister, Mrs. Suckling! That’s right, the one with an estate in Warwickshire and the two barouche landaus!”)

Sophie Thompson’s Miss Bates is chatty and one of better takes on the character, but lack of necessary background hinders her impact on Emma’s story. The comedy in her scenes is some of the best and actually made me laugh, although I think she was just way too giggly.

Miss Bates’s mother, Mrs. Bates, is played by Sophie Thompson’s real-life mother Phyllida Law in a completely coincidental quirk of casting. (I noted in this film how very much Emma Thompson, Sophie’s older sister looks like their mother.)

My only other serious issue with characterization in this adaptation is the representation of Mr. Woodhouse. He is somehow simultaneously more cheery and more disagreeable than he is in the book. His chiding about the cake at the Weston’s wedding seems more like a scolding rather than an anxious admonishment. In one of the first scenes, during Mr. Woodhouse’s “Poor Miss Taylor” speech, he says he cannot understand why she would want to give up her comfortable life with himself and Emma, to have “mewling children who bring the threat of disease every time they enter or leave the house,” and he says this IN FRONT OF ONE OF HIS TWO DAUGHTERS.

Of course in the book, Mr. Woodhouse does lament Miss Taylor marrying, leaving and even having children – but this is all in the context of the danger childbirth presents to Miss Taylor (And the fact that he can’t stand losing a companion). These are his complaints – not the children themselves. In addition, his elder daughter has quite a fine number of children, all of them very young, of whom Mr. Woodhouse is very fond. He’s a character that needs to be carefully handled because, much like his daughter, it’s very easy for him to become unlikeable.

For the rest of the time, though, he just sort of cheerily laughs and is very at ease, when Mr. Woodhouse, as a chronic hypochondriac should be made anxious by just about everything.

Sets & Surroundings

One thing I find interesting about this adaptation is that the houses they chose to use are all of a very neo-classical Palladian style, which I believe (given her disdain for the contemporary trend of knocking down England’s great houses just to rebuild them in a more fashionable style) Austen may have disliked to some degree.

One such house is Came House in Dorset, which was used as the Woodhouse’s estate, Hartfield. Now Hartfield is, I think, described as a well-built modern house so this could be pretty accurate (although Modern could refer to the red bring, boxy style of Georgian architecture, such as the houses used in the 1997, 2009 and 1972 versions.)

Another, Claydon House in Buckinghamshire played the role of Donwell Abbey. I think this might be the worst exterior ever used for Donwell, from a book accuracy perspective. Utterly Georgian, with its’ square façade, Claydon house sort of directly contradicts Austen description of being “Larger than Hartfield, and totally unlike it, covering a good deal of ground, rambling and irregular…” not only is the architecture totally wrong, so is its’ situation, in Georgian fashion, perched on a hill, when Donwell (a very old building) is supposed to be “Low and sheltered”.

Mapperton House is maybe the grandest house yet used for Mr. Weston’s Randalls (I’ve already covered in my review of Emma (2020) why this is a problem – although in this version, as in the 1997 adaptation, there’s no full panic over the snow, so this is less of a problem, but a house like this is still too grand for the reasonably sized Randalls of the book), but it fits the usual 15th-16th century house type that always seems to be used for Randalls.

A myriad of other great houses were used for interiors, however other than Crichel House (Dorset), which was used for Donwell’s interiors, I can’t find information on which ones where used for what. They include Breakspear House (Harefield), Coker Court (Somerset), Stafford House (Staffordshire) and Syon House & Park (Middlesex).

I really appreciate the interiors which were all very colorful and even included doors and molding painted the same color as the walls which is a very Georgian decorating convention, although it looks odd to the modern viewer.

Costumes & Hair

As a rule, the costumes (Created by Ruth Myers) in this movie are pretty damn good, composition wise, but the arrangement leaves a lot to be desired. Myers talked extensively of wanting the costumes to be colorful and bright like the water colors of the time, which she achieved brilliantly. What I find funny is that she talked about using color as if it would be controversial from a historical accuracy point of view, which couldn’t be further from the truth.

The evening wear is generally excellent

My only question around evening wear here is… what’s up with the waistline on Harriet’s ball gown? Why is it going up in the middle? Toni Collette (who actually gained weight for the role, since Harriet was described as “Reubenesque”) verged on looking a little dumpy throughout the film and awkwardly bumping up her waistline in the middle really didn’t help.

I’m pleased to report that is is the one version where Miss Bates’s evening-wear is allowed to look like evening wear. Even Maiden Aunts wore shorter sleeves and lower necklines at dinner or balls. They fussed her up with some lace gloves and frilly fichus but it follows the conventions of the time. I appreciate that immensely, though I have the sneaking suspicion that it’s because of Sophie Thompson’s age.

At 37 Thompson was an unconventionally young choice for Miss Bates, a character who previously had only been cast as older than 50 (Prunella Scales, who would play the role later in 1996, was 64). Indeed, Douglas McGrath almost passed Thompson over for the role on account of her age, but reconsidered after seeing her in spectacles. It seems possible to me that since Thompson was considered young they dressed her “young” as well.

The daywear is where the costumes start to really fall apart. There are a lot of looks here worn in the day that are VERY not day/outerwear appropriate, especially on Emma, most especially the yellow dress she’s wearing while driving that carriage (which, btw is inappropriate on a whole OTHER level). Can we just talk aboutt he cognative dissonance of bothering to put a bonnet on her when her arms and boobs are just hanging out like that? Like, it would almost have been less egregious to just leave the bonnet where it was.

But then there are a lot of Emma’s day-wear looks that are perfectly suitable and appropriate. What I find ironic about that is that most of the short-sleeved, low-necked “Evening-gowns as day-wear” looks are worn OUTSIDE in the sun and most of the long-sleeved, sun protecting, day-wear appropriate looks are worn INSIDE.  She’s also got a profusion of dangling curls in day-time settings that are also more evening-wear appropriate (to match the dresses, perhaps?)

I’m also pleased to report that even in day-wear Miss Bates gets a break from brown in this version. Her clothes are nice, but not fancy like Miranda Hart’s in Emma. 2020, and I like to think that nice thick shawl with lace overlay is the one mentioned in the book that Jane’s friend Mrs. Dixon sent along home with her for her aunt.

My only problem with Mrs. Elton’s kit is that it’s all perfectly nice, but none of it is overly-nice. There’s no extra trim, no unnecessary lace, not even any bold colors. I hope Myers and McGrath didn’t take Mrs. Elton’s line in the book about her fear of being over-trimmed seriously.

Let’s talk outerwear. There’s a lot of going into town with JUST a shawl on in this movie (usually over short sleeves), and I’m sorry but I don’t think that’s how outer-wear worked in this time period. A shawl is good enough when you’re taking a turn in the garden but not for going out in public into town, unless maybe you’re wearing long sleeves, or perhaps paired with a SPENCER.

Never mind Mrs. Elton’s line about a shocking lack of satin at the end of the movie, I’m more concerned about the shocking lack of spencers. There are precisely three in this film. I counted (and the sleeves on Emma’s look like maybe they’re too long for her?) Mrs. Elton sports the only redingote in the film.

Jane Fairfax is, as always, in her classic Jane Fairfax Blue™,

although she has some nice white gowns at some points too.

Now, onto 

Definitely a bit more colorful than the 97 adaptation. Mr. Knightley benefits most from the addition of colors other than green. He’s even got some smashing waistcoats and a very nice blue evening coat (I couldn’t get very good shots of them though). The problem is; those trousers? NOT. TIGHT. ENOUGH.

Also… you all see it, right? I circled it in red so you should. Yeah. Knightley is dancing in boots. WTF RUTH? Please! You’re better than this! Who dances in Prussians like that? I ask you! (Frank also wears boots to the Cole’s dinner party so that’s two strikes.)

I’m not sold on Frank’s looks. His day-wear is a bit sedate for such a confirmed dandy (I believe he’s called a “coxcombe” in the book?) and his evening wear… well he apparently only has the one look.

And speaking of Frank’s look in this film, I’d like to know at whose doorstep I should lay the blame for what Ewan McGregor himself has called “The Worst Wig Ever”; and why the hair designer in charge decided to model Frank’s aesthetic on a theme of “Chucky meets the Mad Hatter”.

This hairstyle not only looks dreadful, it’s not at all fashionable or authentic to this time period! Fashionable mens’ hair styles at this point were all relatively short. A Beau Brummel coiffeur, or a short Roman style, or a fashionable head of curls like Mr. Elton’s! Not this farmer chic. Robert Martin’s hair is more fashionable than Frank’s!

The tune they chose for Emma and Knightley’s dance is a baroque melody (so a hundred or so years out of fashion) called “Mr. Beveridge’s Maggot” and as is pointed out in the video linked above, and is the same tune and dance used for Lizzie and Darcy’s big dance in Pride and Prejudice (1995).

I get why it was used in P&P because, slow, stately baroque tunes are often used as on-screen short hand for snobbish character like Mr. Darcy. It’s not super intense either, like the baroque tune used in P&P 05, which was chosen for more romantic effect. So why use this kind of “stuck up” tune for what should be a romantic dance? Maybe because it was used in the 95 P&P which became, almost instantly, one of the most popular Austen adaptations?

Quick note on the dancing and music in this movie. I’m not an expert on English Country dance (I’ll outsource that by giving you the usual link to Tea with Cassiane’s analysis on YouTube) but I’ll add my two cents  - I know Cassiane gave this a pretty favorable three full dance slippers but I think the way all of the actors and dancers move looks very poorly rehearsed and kind of sloppy. I think everyone just spread out way too much.

Douglas McGrath’s Script

I have to say one of the things this film did very well and brought to the forefront is how insular Emma’s life is. The opening credit sequence brings this to our attention right away by showing a spinning globe which, once it slows down is shown to be, literally, Emma’s whole tiny world. Hartfield, Donwell, Randalls and Highbury. That’s it. It’s perhaps not a very subtle device, but it does get the job done and very succinctly too.

I would now like to talk about my issues with the script of this movie; I have some problems with it. Very different problems than it’s 1996 counterpart though.

 First let’s go over the comedic device that jumped out to me most in this movie: the awkward pause.

I think it’s only used twice but they both bothered me.

First there’s the pauses while Emma and Mrs. Weston grill Knightley on whether he considers Jane Fairfax romantically. It’s all written as very “OoOoOooo” with Knightley answering their interrogations and then sitting between them awkwardly as they stare him down as, none of his answers giving either Emma or Mrs. Weston satisfaction. This is one of the most teen rom-com moments of the film to me.

Next there’s all the quiet stretches while Emma and Mrs. Elton have tea at Hartfield. I don’t like the use of awkward pauses in this case because (as I mentioned in Mrs. Elton’s characterization section) it’s so ludicrous to me that there are pauses in this conversation at all. Surely the point of Mrs. Elton is that she loves to hear herself talk and her conceited obsession with the idea that everyone around her must only benefit from hearing her opinions. There should be no conceivable reason why Emma should have to prompt conversation like she does in McGrath’s version of this scene, except to derail Mrs. Elton’s constant self-important yammering.

Watching it this time around I found myself wondering exactly what McGrath wanted to do with this film. I mean I’ve been attempting to decipher exactly whether the changes made were conscious and based on artistic vision, or whether they were changed because the source material just flew over McGrath’s Hollywood Director head.

I mean he gets the important plot points across, but there were other scenes that I had issues with: namely, the Archery scene. This is a pretty intense part of the book because Mr. Knightly goes from astonished, to indignant, to truly vexed with Emma in a short period of time. But this scene in the movie is very casual. The part where Emma’s arrow goes wide and into the general direction of Knightley’s dogs, and he takes an opportunity to make a quip and says “try not to kill my dogs” particularly annoyed me. My issue is that this totally ruins the tension of the scene; and why are Knightley’s dogs sitting BEHIND THE TARGETS ANYWAY? Knightley is a sensible man, and one who knows better than to let his dogs rest in a place where stray arrows could hit them!

The dialouge is very jarring because it flips back and forth beetween being alright, and period appropriate and then it will just spring a very modern turn of phrase and pull you completely out of the setting. I know this is something that’s been brought up with the 2009 version as well but maybe it’s because the actors in that version have (in my opinion) better chemistry that it simply doesn't stick out to me as much.

The comedy in general in this movie just makes me cringe a lot of the time (Sophie Thompson’s “oh sorry, napkin” bit notwithstanding). Like the soup thing when Emma and Harriet meet Mr. Elton after visiting the poor, and the random kid that gets tossed into this scene with Emma… just doesn’t work for me.

Wikipedia describes McGrath’s tweaks on Emma and Knightley’s banter (which really weren’t changed that much, textually) as “Enlivened” to make the basis of their attraction more apparent, which… I’m sorry but nothing about the exisiting banter isn’t lively if delivered in a lively manner. And I wouldn’t exactly call Gywneth’s performance lively, because she has to concentrate to keep that accent up.

I mentioned already that what McGrath essentially did with Emma was take Austen’s story, and remove the nuance (Such as lightening Frank’s infractions in his relationship with Jane and, while not totally contradicting, but also not highlighting the economic commentary of the story that is thematic in Austen’s novel) in order to make a straight up 90’s comedic romance film (Which, if you doubt this, look no further than Rachel Portman’s Oscar Winning but very dated score).

My Question is why? Why bother when the SAME STORY had been adapted into a HIGHLY SUCCESSFUL, modernized rom-com THE PREVIOUS YEAR, which actually, even while being set in the 90’s, did the story greater justice, with far more insight and quality?

Emma (1996) was always going to be over-shadowed by Clueless. At the end of the day this whole movie was kind of a futile effort because despite excellent production quality, the actual contents are watered down and, in my own opinion, pretty roundly mediocre.

Final Thoughts

When I first watched both of these versions I came at it from a very one-or-the-other perspective. I forgave McGrath’s film because it was light and colorful and I’d heard Davies’ version praised so highly at that time as the only faithful, definitive version (only to be let down by it in almost every possible way). But coming right down to it now, it’s hard for me to really excuse McGrath’s effort because a version of Emma that doesn’t take itself seriously enough is almost as bad as a version that takes itself too seriously.

It never fails to jump out at me how diametrically opposed these interpretations are, from the characterization right down to the tone and lighting.

McGrath’s Emma is light in every sense of the word, where Davies’ is dark and ponderous. McGrath’s Knightley is laid back where Davies’ is aggressive and ferocious. Frank, in McGrath’s version, is let off easy by the narrative playing down his moodiness, while in Davies there’s an overshadowing dark-cloud of off-putting caddishness.

Ribbon Rating: Tolerable (58 Ribbons)

The more I watch the 1996 adaptations of Emma (invariably back-to-back) the more firmly I am convinced that Andrew Davies’ made for TV film was (in some ways) a direct response to McGrath’s motion picture.

Tone: 7

Casting: 7

Acting: 5

Scripting: 5

Pacing: 4

Cinematography: 4

Setting: 5

Costumes: 6

Music: 5

Book Accuracy: 6

[cardentist]

this isn’t a proper discourse post, I Agree with a lot of what the op said but there’s specific things about it that get under my skin in a way that makes me want to talk about it, but I don’t want to engage with that post both because I don’t want to speak over the point that’s being made and frankly because I don’t want to be misinterpreted because of the point that’s being made in it.

so for context, I’ll just say that it was a long post about how a lack of engagement with women characters in fandom spaces is tied to misogyny. just be aware that I’m responding to something specific and not criticisms of this in general. (feel free to dm me if you want to see the post for yourself)

the rest of this is going to be rambly and a bit unfocused, so I want to get this out the door right at the top: it is not actually someone’s moral obligation to engage with or create fan content. all other points aside, what this amounts to is labeling people as bigoted for either not creating or engaging with content that you want to see, and while the individual may or may not be a bigot it’s not actually anyone’s job to tailor their fandom experience to cater to you. 

fandom is not activism. it’s not Wrong to point out that a lack of content about women in fandom is likely indicative of the influence of our misogynistic society. and suggesting that people examine their internalized biases isn’t just fine, it’s something that everyone should be doing all the time. but saying that it is literally someone’s “responsibility” to “make an effort” by consuming content about women or they’re bigoted is presenting the consumption of fan content as a moral litmus test that you pass and fail not by how you engage with content but by not engaging with all of the Correct content. 

judging people’s morality based on what characters they read meta for or look at fanart for is, a mistake. it Can Be Indicative of internalized biases but it is not, in and of itself, a moral failing that has to be corrected.

if you want more content to be created about women in fandom then you do it by spreading content about women in fandom, not by guilting people into engaging with it by saying that they’re bigots if they don’t. you encourage creation Through creation.

okay, now to address what Mainly set me off to inspire this post.

this post specifically went out of it’s way to present misogyny as the only answer for why this problem exists in fandom spaces. and while I absolutely agree that it’s a Factor, they left absolutely no room for nuance which included debunking “common excuses.” which, as you can probably guess, contained the things that ticked me off.

first off, you can’t judge that someone is disconnected from women in general based on their fandom consumption because the sum total of their being is not available on tumblr. 

people don’t always bear their souls in fandom spaces. just because they don’t actively post about a character or Characters doesn’t mean that they see them as lesser or that they don’t think about them. the idea that you can tell what a person’s moral beliefs are not based on what they’ve said or done but based on whether they engage with specific characters in a specific way in a specific space can Only work on the assumption that they engage with that space in a way that expresses the entirety of who they are or even their engagement with that specific media.

what I engage with on ao3 is different from what I engage with on tumblr, youtube, twitter, my friend’s dms, and my own head. people are going to engage with social media and fandom spaces specifically differently for different reasons. you can’t assume what the other parts of their lives look like based on this alone. 

second off, there can be other factors at play that influence people’s specific engagement with a fandom.

they specifically brought up the magnus archives as an example of a show with well written women. which while absolutely true, does Not mean that misogyny is the only option for why people wouldn’t engage with content about them as often. for me personally? a lot of fan content is soured because of how it presents jon. I relate to him very heavily as a neurodivergent and traumatized person, and he faces a Lot of victim blaming and dehumanization in the writing. sasha and martin are more or less the only main characters that Aren’t guilty of this, and sasha was out of the picture after season 1.

while this affects my enjoyment of fan content for these characters To Some Extent on it’s own (I love georgie, I love her a lot, but I can’t forget that she looked at someone and told them that they were better off dead because they couldn’t “choose” to not be abused), the bigger issue is fan content that Specifically doesn’t address the victim blaming and ableism as what it is, even presenting it as just Correct. 

this isn’t exclusive to the women in the show by any means, this is exactly why I avoid a lot of content about tim, but it affects a lot of the women who are main characters. that isn’t the Only reason, there’s more casual ableism and things that tear him down for other reasons (the prevalent theory that elias passed up on sasha because he’s afraid of how she’s More Competent In Jon In Every Single way. which comes with the unfortunate implications of jon being responsible for his own trauma because he just wasn’t competent enough to avoid it) but that’s the main one that squicks me out.

of course not all fan content does this, and I Do engage with content about these characters, but sometimes it’s easier to just stick with content that centers on my comfort character because it’s more likely to look at his character with the nuance required to see that it is victim blaming and ableism. 

it’s not enough to say that the characters are well rounded or well written and conclude that if someone isn’t consuming or creating content about them then it has to be due to misogyny and nothing else.

there’s also just like, the Obvious answer. two most prominent characters are two men that are in a canonical gay relationship, which draws in queer men/masc people on it’s own but the centering of their othering and trauma Particularly draws in traumatized queer people that are starved for content. georgie and melanie are both fleshed out characters in and of themselves, but their relationship with each other doesn’t have nearly as much direct screen time. and daisy and basira have a lot more screen time together and about each other, but their relationship is very intentionally non-canon because of its role as a commentary on cop pack mentality.

people are More Likely to create content for the more prominent relationship in the show and be drawn into the fandom through that relationship in the first place. I have no doubt that there Are misogynistic fans of the show, but focusing on the relationship and the characters that make you happy isn’t and indication that you’re one of them.

which brings us to the big one, the one that sparked me into writing this in the first place (and the last that I have time for if I’m being honest). the “common excuses” section in general is, extremely dismissive obviously but there’s only one section that genuinely upsets me. 

without copying and pasting what they said directly, it essentially boils down to this: while they recognize that gay and trans men are “allowed” to relate to men, they’re still Men which makes them misogynistic. Rather than acknowledge Why gay and trans men would engage with fan-content specifically that caters to them they present it as a given that it’s 100% due to misogyny anyways. they present queer men engaging with content about themselves as them treating women like they’re “unworthy of attention,” calling it a “patriarchal tendency” that they have to unlearn.

being gay and trans does not mean that you’re immune to misogyny, being a woman doesn’t even mean that you’re immune to misogyny, but that’s engaging in bad faith in a way that really puts a bad taste in my mouth. 

queer men aren’t just like, Special Men that have Extra Bonus Reasons to be relate to boys, they’re people who are more likely to Need fandom spaces to explore facets of themselves. and while you can Relate to any character, it feels good to be able to explore those aspect with characters that resemble you or how you see yourself.

when I first started actively seeking out fandom spaces in middle school I engaged with content about queer men more or less exclusively. at this point I had no concept of what trans people were, and wouldn’t begin openly considering that I might be a trans person until high school. I knew that I’d be happier as a gay man before I knew I could be a gay man, and that’s affected my relationship with fandom forever. 

I engage with most things pretty casually, reblogging meta and joke posts when I see them, but what I go out of my way to engage with is largely an expression of my gender identity and sexuality. I project myself onto a comfort character and then I Consume content for them because that was how I was able to express myself before I knew that I needed to. it’s not that girl characters aren’t “worthy” of me relating to them, it’s that I specifically go to certain fandom spaces to express and work through my gender and sexuality. that’s what I use those fandom spaces For.

I imagine that I’ll need this crutch less when I’m allowed to transition and if I ever find a relationship situation that works out for me. but also like, why should I? it’s not actually hurting anyone for me to explore my gender and sexuality through fanfic until the end of time. nor does it hurt anyone for me to focus on my comfort characters. 

fandom is personal comfort and entertainment, not a moral obligation. people absolutely should engage with women in media and real life with more nuance and energy than they do, but fandom spaces are not the place to police or judge that. 

[meaningofmotorsport]

My opinion of the F1 teams and drivers so far this year!

As F1 is currently on its summer break, I thought it would be a good time to give my report on how each team is fairing so far in 2021!

With this year’s car being very similar to the previous year’s one, it was expected that it would be as easy this year for Mercedes as it was last year! However, with some new rules which were clearly aimed at slowing down Mercedes, it has become a much more difficult prospect for them! On the whole, they have handled it pretty well, I don’t think they have the fastest car, at least over the tracks we have seen so far, so to be leading both titles is a good job, even if it has happened through luck and certain circumstances! Mercedes cannot be totally happy though, as they have lost out on a bag of points through strategy errors, and the car just not working at some tracks. Hamilton has not been perfect this year, with some misjudgements creeping into his game, yet he has been pretty close to it, and will need to stay at that level to keep up with Max. His fitness is a real concern, due to long covid symptoms! As for Bottas, with no wins to his name, and some pretty diabolical weekends to add to that, it has been a sub-par year for him to say the least. Plus, now was when he least needed it, with a massive threat from Russell for his seat!

Despite it being their best start to a season for many years, Red Bull have been massively unlucky so far. If luck was on their side, they would have a big title lead in both standings, but that is not how it has worked out, and the team needs to pick themselves up and come back stronger! They have the fastest car, Perez is getting better by the weekend, and with Lewis showing signs of weakness, and Mercedes potentially signing Russell, it could cause drama at their team too! This season could well come down to the mental strength of Red Bull, which they showed none of after Silverstone, and their overreaction undoubtedly distracted them going into Hungary, where Mercedes beat them in qualifying! Much like Lewis, Max has been near perfect, only some slight errors earlier in the year, and perhaps he needs to tone down the aggression a bit! Otherwise, he has what it takes to bring down Mercedes! Perez would have hoped for more when the season began, whilst there have been highs, there have also been many performances, especially on a Saturday, which have been underwhelming! If he can just gain a few tenths, to put himself above McLaren and Ferrari, and start to upset Mercedes in the race, it would be perfect for Red Bull!

There were high expectations for McLaren going into this year, off the back of 2 growing years for the team, and with a new star driver coming in. In some ways they have matched that, if not bettered it, as Norris is currently sat in an incredible 3rd in the driver’s championship, after a superbly consistent year. Yet with Ricciardo, it has been rather lacklustre on the most part! Obviously coming to a new team won’t be easy, however, he has been the slowest to adapt by far, and even by now isn’t quite where he should be. I think he will get there eventually; it is just the little nuances of the car he is struggling to work around! This team may be the best as a unit so far in 2021, as we have rarely seen them miss a trick at all. Despite this, the fight with Ferrari will be a tough one, and will require both drivers to be up at the front!

The gains that Ferrari have been able to make in what has been a pretty static rule set from last year to this, is impressive to say the least! This has mostly been on the engine side, after the circumstances with their 2019 engine, that I am sure we are all aware of! Leclerc has once again been getting the most out of the Ferrari, including 2 pole positions, however, there have also been some big mistakes in there too, namely at Monaco, which could even have cost them a win! Sainz has adapted the best to his new surroundings of all the drivers who moved, as he was right with Charles from the first round of the year! A couple of podiums show that he has been pushing his teammate hard all year, much more than most people probably expected! That could be their biggest strength in the fight with McLaren, if they still aren’t able to get Ricciardo fully up to speed!

For the most part, it has been another year where Alpine (Renault) has not been able to fight where a manufacturer should be, and the positive trajectory from a couple of years ago has faded away really! That being said, another part of sport is making the most of the opportunities that are handed to you, which Alpine certainly did last time out at Hungary! It was clear that they were slower than the Aston Martin there, yet Ocon and the team got the job done, and I hope this will act as a bounce pad, not only for the rest of this year but also going forwards! Over the 11 races so far, Alonso has really been the better driver, especially given he has just returned from some time out of the sport. Ocon is a very talented driver, he just needs to show it more consistently, at least he has the security of a long term contract!

AlphaTauri looked ominous in pre-season testing, and the expectation was that they would at least be in the battle for 3rd in the constructors, if not winning it! The reality has been far from that though, partly due to strategy and driver errors, and also just a lack of race pace! In qualifying they have been probably 3rd or 4th best, with Gasly at least, but it isn’t often they finish there! Pierre has been one of the stars of the year so far, as whilst there have been some slip ups, he has been maximising the car he has mostly! Tsunoda arrived on the scene with so much hype around him, and in Bahrain he matched the hype, however it has been downhill for the majority of the time since then. Overdriving seems to be the main issue for him currently, as he just expects too much from himself at this stage in his career!

2020 was probably the best year ever for the Silverstone based team throughout all its previous guises. I didn’t see anything wrong with them copying the Mercedes, copying has always happened in our sport, so it was nothing new really. The problem with copying the best team on the grid, is that rule changes will be aimed at slowing you down, and as we have seen this year, it has really damaged Aston Martin in terms of car performance. Bearing that in mind, they have made the best of a bad situation, with some very promising results coming to them throughout the year! Vettel has been reinvigorated at the team, as he may not be a top level driver, but he has made a step forward from his final years at Ferrari. Stroll as you would expect has not been able to match him most of the time, but has not embarrassed himself either, as he gains experience during his time in F1.

When Williams said they had make a ‘peaky’ car for this campaign, it had the potential to work really well for them, as being consistently out of the points means nothing, as opposed to 1 point scoring race! The team was tremendously unlucky to not score points before Hungary, although they have now got what they deserved, with a huge 10 point haul for them! That may be enough to stay 8th, however, they may even be able to grow their lead further in the remaining 12 races! Russell for the most part has been outstanding in what is still a poor car. There have been a few blemishes, such as Imola, but everything else he does is the best advertisement possible to Mercedes, as to why he should be there next year! Latifi has mostly been hidden behind the limelight of George. On the odd occasion he will push him very hard, which is good to see, I am just not sure if it is enough to keep his seat!

Alfa Romeo came to join the Sauber team on such a high note back in 2018, as they grew the star of Leclerc, before he went to Ferrari! Since that point, points have been hard to come by for them, as they battled to stay above the bottom of the table. They should be able to do it again this year, however their position won’t be that satisfying! Their performance isn’t helped by 2 drivers who aren’t a match for the rest of the grid. Kimi in his prime was an excellent driver, but this year especially he hasn’t really shown much to write home about! Giovinazzi has had a few years now to grow in the sport, and although he is beating Kimi very often, he isn’t showing any signs of being a star of the future. I think a driver overhaul for next year would do them a world of good!

It has been a woeful year for Haas, as an underdeveloped car with 2 rookie drivers, is a painful combination. As they focus on 2022, the good thing is that their drivers seem to be improving as the year goes on, to prepare for what they hope will be an upturn in results! Schumacher has been a class above Mazepin, as we thought would happen. It was also nice to see him get his elbows out whilst battling with some of the top runners, even if it didn’t last long! Mick just needs to tune out the crashes we have seen from him this season, otherwise he could have a promising career ahead of him! Nikita has at least stopped his habit of crashing, which plagued him to start the season, now he just needs to get on terms with his teammate in both qualifying and the race.

If the second half of this year is as good as the first, we could have a monumental season on our hands! All I hope is that we have a title fight which goes right down to Abu Dhabi, for the first time since 2016, and maybe some drama along the way to keep it like that!

-M

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[fencesandfrogs]

an abridged history/explanation of warrior cats if you didn’t read them as a kid and have questions (a primer)

welcome. i’m going to keep things to the point, this is not a plot summary, just, well, its a pandemic and people are seeking items of childhood comfort and its come to my attention that a lot of people didn’t read these books as kids and then they come up in conversation and they act shocked so! i felt compelled to write this.

[2.5k words, 10min read. section headers, no pictures. not a ton of helpful formatting. i don’t want to say don’t read this because obviously i wrote it and think it’s worth reading, but i’ll be honest, this is a lot.]

section one: about me

i was an avid reader as a child, most of which fits solidly into “stories for another time,” and some of which would necessitate me adding tags onto this post that are, well, not necessary. so i will skip over that backstory but for those aware of lexile scores, i had one that was too high for literally any book that was appropriate to give me. so reading in school was torture and reading for fun was excellent.

now because i was a first-ish grader and my mom was trying to keep the fifth harry potter out of my hands, she looked desperately for something else to pass to me. her friend, who had a daughter a year or two older than me, was into these cat books, and my mom was like “here honey you like cats” without thinking too much about it.

which is good, because as i’ll get into, it was a really good fit for me. but like a dozen books later she asked me about the plot and well. i think at that moment she realized that it might have been better to just let me read harry potter.

but yeah i continued to read them long past the recommended reading ages and still as a Young Adult will return to them for nostalgia, and also as i will get into, some really good books. (see a list of books for “morbidly curious but i don’t want to spend 56 to 168 hours reading this”)

i’m not fully caught up on the series but this is not a plot summary so that should not impact my ability to discuss this

section two: content warnings

these books (not this post) includes the following:

discussion of castration (1.1 series 1, book 1, i’m not including this on every item/discussion because this is a complicated series but i want to demo how up front some of this is)

teenage romance/sex/pregnancy (1.1ish-1.3 or 4, continues throughout the series quite a lot, comes up again in 3.4/5, 4.4-5, and a bit in 5)

death from childbirth (1.can’t remember which book, many others)

unwanted pregnancy (se super edition, or a longer one off novel, discussed in 4&5)

sex/implied, discussed, and very very very heavily hinted but never directly said/shown (1.1-3ish, se, other)

murder (constantly, 1.1, 1.4, literally every book, 3.5, i’m just listing the ones i remember off the top of my head that were particularly graphic)

disability/illness, esp. the debilitating and/or deadly nature of it (1.3-5ish, 3.1, but all of 3, 3.4ish)

dementia (1.3-5, i’ve heard in some of the later series?)

abuse (7/8 this is reported i haven’t read these books but based on what i know it’s def there)

child abandonment (1.4-5, 3.4/5, it’s also all over the place but i think those are the only major character incidents of it)

treason (1.3-5, all over the place)

the horror/tragedy of war (background, but pretty constant)

disagreeing with an integral religion/tradition (3, based on the series title, 8, and generally scattered)

the corrupting influence of power (1.4/5, possibly 7/8, others)

racism (1, 3-5, possibly others)

sexism (se, background)

patriarchal societies (se, seems to be somewhat softened based on what i’ve heard but i’m not entirely sure about this)

and more! but it starts to get stranger and this is enough to prove my point

basically everything that could go wrong does

oh yeah! child abuse also child abuse that’s a very major theme in the first series as well as during other points. and elder abuse in the first series.

okay i’ve made my point.

section three: the appeal

look. so. i think we’re kind of pastel-ify children’s literature based on movies. see, parents have to watch children’s movies with their kids, so they can’t be gritty and intense because a lot of parents will say “not for my nine year old! they can’t deal with treason!” and that seems to be bleeding into children’s literature.

but warriors is not that. it’s intense, it borders on “too gruesome for children,” and it’s from a time where kids books got to be serious and heavy and dark because they were about animals. which was great because i couldn’t find books at my reading level that weren’t too thematically difficult, so i got to read something below my reading level, but thematically too hard, so it kind of balanced out.

and then well. so. the series grows with the audience, but the books don’t grow in terms of like difficulty so new readers start deep into it and it’s a complicated thing, the fandom history is complex, but.

the appeal is that parents don’t usually read the books their kids read and so they see a book about cats and assume it’s fluff, and kids who are starved of complex content get to read hamlet-for-kids.

section four: worldbuilding/lore

oh yeah also there’s some really deep lore to explore. so there’s two bits of appeal.

i’m not doing a full world/plot summary, but i’ll explain some common elements here.

thunder/shadow/wind/riverclan: harry potter houses for cats (gryffindor, slytherin, hufflepuff, ravenclaw, except this doesn’t work for the last two but that’s fine because no one cares about them despite riverclan being pretty important in most of the books)

-kit/-paw/-star: naming conventions. everyone has a two part name. (we’ll use cinder as an example because i like the two cinders we know, even tho neither of them get to be cinderstar.) babies are -kit (cinderkit), then when they’re apprentices, which is like being a student, you know, elementary through high school, you’re paw, so cinderpaw. then you get an Official Name from ur clan leader (cinderheart). if you become clan leader, you get to be -star (cinderstar). i know i haven’t explained clan leaders bear with me. this is kind of important because i have the names burned into my memory so i cannot simply always call firestar firestar if he was firepaw at the time of the events i’m describing. it won’t be ambiguous, cinderheart/cinderpelt are a special case. if this is tricky for you it’s fine just only read the first part of the name.

clan (leader, deputy, medicine cat, elder): roles with in the clan. leaders literally have nine lives. deputies are next in line and chosen by the leader. leaders usually go through several deputies, because deputies don’t have nine lives. medicine cats are doctors. they also have an apprentice. those are all one per clan. elders are just retired cats. they’re not a special category per say, but i wanted to mention them.

warrior: adult.

warrior code: laws.

star clan: dead cats. this ties into the religion which is pretty important to the books but for the most part if you understand that dead cats get to give guidance and send their approval, you have the gist of it.

section five: so um, what the fuck

so we start with a cat named rusty who runs into the woods to join thunderclan and then his name is firepaw and we all forget that he’s named rusty except for like that one time it comes up again. bluestar is a great leader with some corrupt deputies but fireheart eventually takes care of it and becomes clan leader which is a big deal.

then a bunch of other shit happens and suddenly ashfur is possessing brackenstar and being (more) abusive to squirrelflight (who is on the outs with brackenstar anyway for lying about their kits jayfeather, hollyleaf, and lionheart because they’re actually the children of firestar’s other daughter leafpool who had them with crowfeather after she fell in love with him but he’s from windclan and she’s a medicine cat so that’s double illegal and apparently hollyleaf is alive even though she yeeted herself into a pit and died because she killed ashfur when he threatened to reveal this but couldn’t live with being the product of an illegal meeting and then it was all pointless because leafpool stopped being a medicine cat out of guilt anyway and jayfeather is just an ornery bitch about everything but especially all of this)

i’m not explaining any of that.

section six: i repeat: so um, what the fuck

so the thing about these books is they’re soap operas and dramas about cats and that means they get just as strange and chaotic as anything else in the genre. i think a lot of people like me, who read them as children, regard the series we knew as a child (usually either the first three or the first five, plus super editions) as something good and warm and comforting (despite being dark and gruesome) because they made us feel good.

they were also a breeding ground for young fandom because of all the the drama that exists and the nature of the books providing that.

section seven: super editions

the simple answer to what a super edition is has already been given (it’s a novel length one-off about a single character, and its usually either a side character - bluestar, crowfeather - or a event/perspective we don’t get to see - firestar, skyclan, greystripe - and they’re generally more mature)

my favorite super edition is bluestar’s prophecy. i read it at like 16, slinking into the children’s library with a stack of other ya fiction and a “children’s book” which dealt with unwanted pregnancy, grief, forbidden love, and more. still not sure why that’s in the children’s section.

section eight: about the drama

so there’s been a lot of fandom drama about these books. i can’t tell you about the nuances, because i am an old fan, so i watched but didn’t partake. the highlights reel that i can recall goes as follows (please note i will refer to characters by name without explanation. it’s fine. the point of this section is to convey the pettiness of this drama):

tigerstar: did he do anything wrong? (the answer is holy shit yes, this isn’t discourse, it’s okay to like a villain)

scourge: did he do anything wrong, also what color is his collar? (also yes, doesn’t matter)

was the new prophecy (2)/omen of the stars (3)/etc good? (yes, eh, no, yes, no comment, no comment)

should jaypaw or hollypaw be medicine cat apprentice (neither of them, but jaypaw’s employment opportunities are limited because he’s blind, so its gotta b him)

uhh a massive tangle around this parentage drama between squirrelflight, leafpool, brackenfur, and crowfeather, which i used as the crux of humor for how batshit the plots can get, so i’m not even going to pretend i can make it funny, but just know that it’s batshit and the correct opinion is as follows: no one is right, but squirrelflight has done the least wrong, brackenfur is an asshole to her where it’s unwarrented, and hollyleaf is an idiot

and the current drama centers around brackenstar and ashfur and is tied directly to the point above, which is why i’ve kind of given up trying to make jokes about this because this is the culmination of like 35 novels.

section nine: i feel like i need to have some conclusive point to justify writing all of this

but i don’t have one, because this was really an excuse to ramble about an old passion for like half an hour. i mean i guess i can say, like, i think younger fans are sort of embroiled in this drama they don’t really have context for, because i’m not kidding, the current drama centers around the grandchildren of our original cast.

it’s kind of hard to know why, say, mistystar matters if you don’t know that she’s the child of bluefur and oakheart and if you don’t remember the drama that surrounded that when bluestar was dying and tigerstar and leopardstar were ruling a combined shadow/riverclan.

(i really hope that’s intelligible i tried to lay the groundwork for it. basically, there’s a biracial kid in a very segregated society who becomes the leader of one of the clans. which is obviously drama, especially considering that that clan was part of a weird supremacy movement a while back.)

& you know? i really hope one of the new series gets to be like, a soft reboot. just. end the current drama and pick up again with the latest generation. a) we’re starting to run out of names, and b) i think that it’s kind of tipped over the edge of sane.

the series also used to be very low fantasy. the cat societies are reasonably close to feral cat colonies (the biggest detail is that toms don’t all have their own territory, but there’s honestly in-universe discussion of this and it’s basically a culture thing), and while star clan/religion is a real and legitimate thing, there’s also a discussion of its abuse and most of the early books don’t really use star clan/related ideas as a physical force so much as a plot device, barring, like, when a new leader gets their nine lives.

honestly, i’ll always adore these books for serving the role they did, and a lot of the series is fantastically well written. but the fandom surrounding it can be, uh, not great because 9-14 year olds don’t really have good brains to understand this.

also, i’m very sad that i can’t find the flash game that was for the great prophecy. it was not very fun, but i enjoyed playing it, so if anyone knows the url so i can search the internet archive for it, please let me know.

section ten: i’m morbidly curious but there are 56 hours of books to read, assuming a very fast reading pace, so is there something i can start with to experience this without dedicating 4 days to it?

yes, there is.

it’s called bluestar’s prophecy. it’s standalone, and i should have given you enough of a background on the lore that you don’t need to know anything else. i’ve already given away the twist in series 1 that it would spoil, so you’re all good on that front.

if you want more, or want the original experience, the first series is self contained and quite good. i’ve given the broad outlines of the plot, but trust me, there’s a lot of surprises and all sorts of things i skipped over because while i like it, it’s not exactly fandom primer material

i also enjoy firestar’s quest and skyclan’s destiny for super editions, but you’ll need to read the first series to understand FQ and FQ to understand SD, so it’s not exactly a starting point. also, SD especially deals with a very different set of themes as the other books.

also, if you were to, say, search “readwarriorcats” (no spaces) on duckduckgo, and then click on one of the first links, you know, not the official site, the one hosted on one of those free website things, you know, not wix, not wordpress, the other one, you would only find lists of the books with hyperlinks.

;3