#also there's the issue of making an allegory with characters that have reason to be scared of each other

[rejectedfables]

Shuro being known as "Shuro" when his name is "Toshiro" is a funny haha "white boy misheard his name and told everybody" joke, but it is also a character study of everything going wrong with Toshiro himself. Sure, Laios misheard his name and told everybody, but Laios is a kind person who cares about his impact on his friends. If Toshiro had EVER ONCE corrected him, Laios would have changed his behavior, and told everyone he'd fucked up, and laughed at himself for making the mistake. Shuro being so paralyzed by social etiquette that he can't even correct Laios about HIS OWN NAME (paralysis that comes from his culture, upbringing, and his own autism, as Laios himself has not given him any reason to feel this way) is foreshadowing and commentary on their entire dynamic and conflict.

The fact that, even after resolving the rest of their issues, Shuro STILL doesn't correct him or anyone else on the island, holds implications that perhaps he's grown to appreciate having this other identity that's separate from his upbringing. Yet another trans allegory of slow transitioning of identity being linked to a different name (used first by your friends).

Or maybe he just still hasn't gotten up the courage to broach that particular embarrassing topic.

[hexagonaldecency]

People keep saying “Elemental is good actually” but I haven’t seen a single argument that makes me want to watch the movie

[shippofuri]

Thoughts on Lycion's identity, species, gender. (CW: mentions of internalized transphobia)

as someone who is trans and has species dysphoria (and whose transness is intrinsically linked to species dysphoria, the human female form being too exaggeratedly human to feel comfortable in) it feels a bit odd when people exclusively discuss Lycion's body dysmorphia as exclusively a trans allegory (which is a perfectly reasonable read! but it can be more than that...) seemingly without much awareness that people who are like him, and especially trans people who are like him in a more literal sense exist... So I figure, as one of those people, I might give some observations on Lycion, along with some anecdotes of my own experience and how it parallels it, how his characterization reflects real-world struggles- both literally and as a trans narrative, and why I appreciate characters like him so much.

What is fascinating (but also so relatable!) to me, both when viewed in a literal sense and as a trans allegory, is that Lycion does not actually have a particular affinity to another species, but rather feels a visceral discomfort with his own elven body.

We even see in his raceswap portraits, Lycion is visibly happier as anything but an elf. Unlike Laios, who wants to become a monster, Lycion doesn't want to become anything in particular, he simply wants to stop being an elf.

Most depictions of transgender characters in media are focused on the idea of wanting to become something. Feeling in your heart you were always meant to be a boy or a girl or perhaps some secret third thing. Having a specific goal. What is less often depicted is the experience of I don't want to be what i was born as, I'd rather be anything else but this. anything is better than this. And, in both my struggles with gender and with my own humanity, this has been my experience!

Of course, there are a great many creatures I look at and think "I would be much happier if i were one of them", but those feelings are broader and less pressing than the overwhelming discomfort with my own body, and the desire to be less human. I aspired to masculinity and ultimately pursued transition not out of a particular affinity with any idea of maleness, but because masculine human features, to me, appear more animalistic, less of a strange naked thing that sticks out like a sore thumb in the grand scheme of things. And so too did Lycion pursue becoming a beastman, not because he felt a particular affinity with being a wolf, but because it would make him less of an elf.

And after pursuing it, even though he still has to spend much of his time as an elf, Lycion is far more comfortable, no longer nihilistic and self-destructive. He's confident, prideful even! He has a body that doesn't feel wrong, even if he can only wear it sometimes.

And, myself having been on HRT for nearly four years now, i have to say my experience has been much the same! Even though, of course, I'm still human, my dysphoria has essentially been eliminated, I feel comfortable in my body, and I genuinely like the way I look. I admire my reflection and find joy even in the changes that i was merely indifferent to the possibility of when beginning my treatment, and it even eased some issues completely unrelated to gender...!

Finally, Laios' dismissal of Lycion's identity here feels very reminiscent of people casting doubt on a trans (most often nonbinary) individual's identity due to transitioning for what they view as "the wrong reason", even at times arguing that only people who meet their personal standard for transness should be allowed access to transition. And like with Laios, who himself wishes to become a monster, these arguments are often coming from within, from others in the trans community.

Is someone who identifies as male because they don't want to be female less justified in their desire to pursue transition than someone who doesn't want to be female because they identify as male...? Should people be denied the right to feel comfortable in their own skin because they are seeking to escape something, rather than reaching for something specific...? Of course, you know what my answer is, but I digress.

[nortsauce]

HERE COMES NORT, YAPPING ABOUT FANDOMS THAT I’M NOT EVEN IN!

(And i’ll be typing the rest here because there are too many slides so read bellow)

⚠️ WARNING ⚠️

My LONG ASS rant on how MHA (among other things) fails to present its ab*se victims in a good way,

Starring the todoroki family

So, i know literally no one cares but i feel like it needed to be said: but MHA has a BIG issue with victims of abuse being treated kinda shittily, to making whole arcs about their abusers.

This isn’t a HUGE thing, as the lack of sympathy for Hawk’s abusers was definitely there, but they still were portrayed in a semi-sympathetic light. This is not the main focus however.

I’m sure many could go on and on about Bakugou and Midoriya’s relationship, but thats not what i’m focusing on.

I’m focusing on the most OVERLOOKED and ABHORRENTLY handled dynamic of the Todoroki family

I will be going over each of the characters and why they suck in some way, but as a whole i have to talk about this: Each one of the characters of the family are all victims of abuse in some way, and represent the different ways that trauma affects the victim, i understand that.

All in all, they do a good job of portraying the different ways in which the people handle abuse,

Endeavor being one who never dealt with his past egotistical superiority complex and threw his baggage onto his family/children to live vicariously

Rei being the one who is emotionally/physically damaged to the point of a mental break

Touya being the ex-golden child, and the one who continued the cycle of violence (and misogyny but thats another topic for another paper)

Fuyumi being the one who holds onto an idealized version of a family that possibly only existed in her dreams, being codependent and longing/working to get those “happy times” back with her family, clinging onto smth that was possibly never there

Natsuo being the one who is (justifiably) angry at his abusers, cuts his family off and goes to pursue his own life/dreams

and finally shoto

the one who realizes his role as the golden child is only for his parents to live vicariously, breaks his cycle and is trying to figure out who he is.

These are all great representations of how people cope/handle trauma, and i believe that was on purpose, considering that it also speaks on abuse of children on baselines of being in a famous family.

However, certain aspects are clearly not handled properly; allow me to explain.

Shoto, the youngest of the family, is often seen as the architect of the abuse, as the family was actually quite “fine-living” (i’ll come back to this) before shoto was born.

There were obviously cracks in their family from the beginning, Touya being the golden child despite not being able to physically handle his own power without hurting himself (an allegory i’ll discuss), the fact that Enji (endeavor) basically bought his way into marrying Rei, and of course enji’s complex of being less than All-might.

However, many characters seem to blame the birth of Shoto for breaking the camel’s back, and starting the domestic violence that had already threatened to spill through.

It’s shown through the anime that shoto has a kind heart and never liked enji, due to the fact that he would harm him, his siblings, and his mother,

but for being the tritagonist of this show, we never get to see how he really feels. In all of this, perhaps we could see him feeling guilt for being the reason his family is broken, the possible resentment yet dependency he has for his father, the thoughts on how he feels conflicted yet guilty about his mother and continues to blame himself.

Its interesting how he never stops blaming his father, but regardless we only get his apathetic views on his father and no one else. Its saddening to see the sideline of the victim of abuse while his abuser gets a whole arc. But i’m not there yet.

Moving on we have Natsuo and Fuyumi. I grouped them together because they both have opposite ways of dealing with their trauma, as Aforementioned: Natsuo tries to cut all ties while Fuyumi tries to be a “normal” family with her remaining members.

Both of them have valid ways to why they act this way, and its tragic, however, the way they deal with their youngest sibling, shoto, is disheartening to say the least.

Both of them understand how Shoto was physically abused since he was 5, and neglect to form any sort of connection with him despite his better efforts in natsuo’s case, using him as leverage against his father and nothing more, while in fuyumi’s case, basically presents him in her fantastical version of him in their fantastical “perfect” family life, causing him to have multiple meetings with his abuser and forcing him to relive the trauma so she can have peace of mind.

In hindsight, this is all interesting heavy topics to explore in a character, and i was honestly curious to see how it would be handled

however it all faltered as soon as I saw the hospital scene.

SPOILERS:

After Dabi’s Dance, the todoroki family comes to visit Shoto and Endeavor in the hospital, both of whom are heavily bandaged and bed-ridden.

Despite this all, Rei, Fuyumi, and Natsuo force todoroki, who is burnt and recovering his voice, to get up and walk over to his father’s ward to speak to him.

Shoto, despite being unable to form full sentences, makes it FULLY CLEAR he does not want to be there, by closing the door to his ward, and attempting to leave. Despite his clear efforts, his family makes him go in to talk to him.

this 16 year old boy being forced out of RECOVERING, fully bandaged and barely able to talk, forced to visit his abuser to hear him cry about not being able to fight his own son, depsite also being his son and physically harmed by him since childhood.

In my opinion that wasn’t a good move on any of the family’s part.

Rei is a difficult subject to discuss. She is clearly a victim and has been for. while. She is mentally distant after being harmed for so long and spent time in a psyche-ward to handle herself.

Saying that she was a bad mother would be too far in my opinion, as she did her best to provide a nice life for her kids as well as defend them from her husband.

Not much is said about her, but from what we can tell she loved her kids very much, until the abuse started.

I feel the blame for shoto began with her, not being able to face her own son after the “death” of her first and the fact that his face reminded her of the abuse she’s faced from endeavor.

Her character is honestly an interesting one, but she is not safe from my scrutiny of the hospital scene. She was very brave for facing her abuser like this, however, she did not have to drag her bedridden youngest into the fray.

She is the DIRECT reason shoto has a scar on her face, (indirectly endeavor’s fault)

But i will never blame her for the abuse she faced for her children, by her husband and to an extent, her own son touya, which leads me into my next point

SPOILERS

Touya, aka Dabi, is the “Late” eldest brother who was originally Endeavor’s ticket into living vicariously to defeat all-might and be the number 1 hero.

I could go into the psychology of his character but he is ultimately very interesting. In all honesty the way he is presented as being the consequences of endeavor’s actions is palpable and honestly quite raw. At a young age, he was handling the pressure of being his father’s perfect creation, and the fame and fortune that followed as he sought his father’s approval. Soon, his quirk began to burn him every time he used it, a fact that endeavor ignored to pursue his goal. Touya’s power became self-harm at some point, an allegory for his disregard for his own life and well-being for his father’s dream which ultimately (literally) exploded on itself.

Touya’s story is interesting, from his abuse causing him to act like his father craving his approval, which lead him to act put against his mother and shoto, while laying his baggage onto his younger siblings, to losing his mind and realizing that he wanted his father dead and continuing the cycle of abuse further.

This is all a deep and interesting way to look at abuse and how the abused may become an abuser, HOWEVER.

MY critique here, is how sidelined his whole arc is, as his story is more portrayed of Endeavor’s past coming to haunt him, all for the watcher to sympathize with endeavor rather than understand how the abuse endeavor put onto touya made dabi. This whole arc was framed to be sympathetic towards endeavor, and to fear Dabi. Don’t even get me started on how Shoto’s feelings meant nothing in this arc, as well as being immediately cut off by a surprise cameo of a character that possibly discredited Dabi’s expose video on his abuser.

Finally, we get to talk about the elephant in the room: Enji Todoroki, endeavor himself.

What is there not to say about this man.

I feel I should start eith the obvious:

The forgiveness/sympathy arc for endeavor was quite possibly the worst thing to ever happen in the anime, and this is not subjective.

The whole arc is based around how Endeavor is a victim of his own mind and is trying his hardest to make up for being a terrible person.

Personally, i love to see character arcs of villains becoming a better person, but thats the very thing: Endeavor is trying to ask for forgiveness from his family, who he abused for 15 YEARS. This is no exaggeration as Shoto is now 16, and his cracks started forming as soon as he was born.

Endeavor had illegally married a woman that he basically bought his way into,

was illegally “breeding” (eugh) for quirk benefits,

Treated one of his son’s like a vicarious version of himself

Physically abused his son (age 5+) his wife, and verbally abused the rest of his children

isolated his son

treated his son like a weapon

and finally felt too prideful for any sort of meaningful apology.

This all adds up to a character who only felt sorry for his actions after the consequences started hitting him in the face, as he only felt remorseful when Shoto refused to be associated with him.

Now, some of you may be thinking: “A lot of characters are forgiven for more, why would he be the exception? It’s fictional why do you care?”

There are several reasons to why I care but i’ll speak in terms of framing for now. This show is highly influential to not only kids (as it is a KIDS SHOW) but to adults as well. May i direct your attention to the man who saved a woman from a murderous ex-boyfriend by blocking his machete hits all because My Hero Academia inspired him to take action and be a hero?

Or how about a murder that took place because the accused was inspired by an invader zim episode (the dark harvest)

Whether you like it or not, fiction HAS an affect on reality. Yes, we can determine what is real and what is fake, but you cannot deny that a lot of what media we consume helps us be who we are.

If the show promotes more sympathy towards an abuser than their victims, then people may find themselves sympathizing real world abusers over the voices of victims.

I wont speak on delicate subjects but I can already see affects of this happening, as people rally to defend famous people accused of being abusers rather than listen and provide support to the alleged victims.

In conclusion, These topics are definitely not easy to write, and I, for one, am NO expert and my word should not be used as gospel truth or a guideline on how to write these characters.

This is all simply my opinion on how the bias towards abusers in the show leads for the message to be skewed and marred in action.

I understand that no one is perfect, but if we only reward and sympathize with those who only seek redemption after they face scrutiny, then we lose the meaning of what makes someone worthy of forgiveness.

These topics are deep and interesting, but the way they are handled in this show is simply bad writing.

Thank you for coming to my ted talk and again: no shade towards the writers. Just critiques!

[acuteobserv4tion]

One of the reasons I love Elemental.

They literally never once in this entire movie ever said that "We're all the same." Never even hinted at it. The point was that the two main characters wanted to be together despite their fundamental differences.

There's literally 3 whole dedicated scenes about it. Where they touch for the first time. Where they talk about Ember's future. Where Wade tries one last time to reach out. I'm so confused why people just ignore this.

Everyone keeps saying it's "Zootopia dressed like Avatar" even though that's not true. It's that same type of thinking that left Dreamworks' Megamind in the dust after Illumination's Despicable Me came out. Just cause they both have a "bad guy" as the protagonist who "talks funny."

It's that same mindset that would have left Coco (2017) out to dry simply because Pixar's "Coco" and 20th Century Fox's "The Book of Life" (2014) both revolve around The Day of The Dead and the main characters like music. Yes, that was a thing.

Remember when people accused Coco of being a Book of Life Rip-off? It's like nobody cares about storytelling, development, execution, or any of that stuff.

This movie isn't black and white rascism like Zootopia. Elemental focuses on immigration. It focuses on sacrifice. It focuses on family. It focuses on preserving culture. And it focuses on love.

It's not a girl trying "to make the world a better place" or a cop case. There's no main villain. Prejudice is just a part of their life. It's just something they have to deal with. And they also appreciate each other's differences.

Another thing that I see pop up again and again and again is, "How are they touching?" "That ruins the rascism allegory." "It's a bad allegory cause the elements will literally destroy each other if they touch."

I just sit there thinking, "Did they even watch the movie? Did they not see that beautiful scene under the bridge where they addressed that issue?"

If you notice throughout the movie, each element has to consciously keep themselves together. The only exception being Earth. (Unless I forgot some earth person in the background who was falling apart)

Air, Water, and Fire will also all change with their emotions. Yet people, both within and out of the movie, only care about what Fire could do. "How come Fire isn't burning this right now? The thing with the flower flashback doesn't work."

Fire isn't the only one capable of being dangerous. Water can cause accidents when they cry and even floods if they lose control. Gale was literally a lightning storm when she was upset.

The Vivisteria was said to be capable of surviving in any environment, even Fireland. Yet the water security guy was still afraid of what Fire could do. The only ones who don't have to work to control themselves are Earth. (Which I guess is why they're kind of just there in the movie living their lives)

That's why it's so amazing what happens under the bridge. Wade and Ember both make a conscious effort to be gentle with each other. They make the effort to find an in-between. It was a whole thing. Why do people just ignore that whole scene?

This rant really got away from me.

[amuseoffyre]

Have had a couple of days and a rewatch and some mulling to put together my thoughts:

The good:

the writing - I've talked at length about the use of metaphor, symbolism, allegory and the like to add meat and substance to the narrative

the continuity tied in to S1 and the foreshadowing coming full circle, plus running themes continuing

the music is flawless throughout - both the soundtrack with songs and the original score and the way old motifs are used to add parallels and depth to scenes

the acting across the board has been staggeringly good. Especially for Taika, Rhys and Con. I can see why so many reviews had been raving about it.

the bits of set-up for S3 that have been planted if/when they get it

new characters who are an absolute delight

Family Trauma the TV show - intense to watch but cathartic af

Badass ladies and the soft boys who love them

Auntie.

The bad:

too much story and not enough time to tell it

sacrificing a lot of crew-related stuff - I know this is primarily the Ed and Stede story, but we're told that Olu was always talking about Zheng, but we never even got a single line of it. Buttons' disappearance gets one sus line. We gloss over the probation and why Ed is back in his leathers literally the next day. Again, I know, time constraints, but it does feel weaker for it.

speedrunning so much that it's taken several rewatches to catch everything that's going on - yes, it can work as a narrative device, but not all the time

still not over Zheng falling for Ricky's gift. Do not trust the aristocratic white dude, especially not when you've been blackmailing him. And I know there's some logical sense to her being so used to being able to manipulate desperate people on the fringes with both carrot and stick, but it feels like severe underestimation on her part about how ruthless and cruel and petty Ricky could be. He's not like the pirates - he has the power and privilege and it feels like she ignored that.

whatever that Teal Oranges pivot was so Jim could have a girlfriend, especially since they didn't have time/space to actually develop the Olu/Zheng and Jim/Archie stuff. Archie was barely a scrape of characterisation because of time constraints.

The ... Forbs Boding

Izzy - it falls under the typical archetype of Loss of a Role Model especially given all Ed's dad issues, which I thought we were beyond, but then it also fits with the running motif of the show of change, death and rebirth. We've had confirmation of the existence of a place between life and death plus a character who was beaten to death coming back from it and a seawitch turning up at the grave. I can see why it was done as it has been foreshadowed since "the only retirement we get is death" but after all his growth in S2, having Ricky be the one to get the jump on him is... hm. I feel like they had him and Ricky talking and Ricky causing his death for a reason. Feels like there's set-up for S3 planted and ready. My Forbs, they are A-Boding. ffs, they Obi-Wanned him right after he did a speech about "our spirit will last beyond your whole fucking empire". Strike me down and I will become more powerful than you can possibly imagine vibes.

The way trauma is/isn't being dealt with - I feel like there's stuff there that is set up for S3 as well, because we've seen how Stede is still bottling all his stuff and hasn't dealt with any of it, while Ed has done some processing and started to make peace with himself over it. Stede still has his mental lockbox and while he tries to pretend it isn't there, it still informs so many of his decisions.

All the Star Wars vibes - I've always been convinced this was the Empire Strikes Back season and now, they have all the pieces in play for the Return of the Jedi arc: Stede and Ed are together and recovering but will have a role to play, Izzy is in carbonite with a seawitch control panel, their allies are out there getting pieces in place, and the Imperial figurehead villain who showed up in S2 is still out there and convinced he holds all the power. And I just realised that this means that if they use Hornigold, he's the equivalent of Boba Fett - Bounty Hunter for the Empire XD

On the whole, I am content with it and am already having thoughts about the potential for S3, but I find it incredibly frustrating knowing how much more it could have been with the budget/time they wanted and didn't get.

[average-mako-enjoyer]

Bigots and Failed Promises of Mass Effect games

(I had this thing in my drafts for almost a month, and it would have stayed there if not for the wonderful post by @androidtrashfire, because I saw it, and I was like: "Fuck it, I have to rant about these games." I love Mass Effect, and I really think we should critique it. We should criticize things we love because silence = compliance.)

So I was talking to @liss-art recently about the bigoted fans in the Mass Effect fandom, and I think I need to make a post about it because it's something that really, truly bothers me, and it needs to be addressed.

Canon

Mass Effect is a story about deeply flawed people with a lot of problems, and through them it touches on issues like xenophobia, sexism, corruption, elitism, morality, identity. That's why we like it, right? But why are there so many bigots in the fandom? My theory is that it happens because Mass Effect, for all its supposed complexity, only touches on these issues without giving any meaningful commentary on them.

Here are a few obvious examples:

The Quarians are a distasteful allegory of the Roma people (right down to their accents). They are persecuted and ostracized for creating Geth, but the game never gives us any socio-political reasons why the Quarians did that. They just developed real AI because they were naive and stupid? Or because they were the only ones smart enough to do it? Did they do it in secret? Why did other races not make the same mistake?

Same with the Batarians. Yes, the game mentions tensions between humans and Batarians because humans try to claim territories that Batarians think are theirs, but that's about it. Batarians are all racist slave traders and they're bad, don't think about it, here's some memes about 300,000 of them dying, good job. And yes, I know you can read more about their history in the Codex (why is it an Asari who writes about Batarian history,btw?), but it's basically the same thing as saying D*mbledore is gay (I really am sorry for this reference). If no one ever mentions this rich Batarian history, then it doesn't exist.

And please don't get me started on Hanar. They "mercifully" saved the Drell by inviting them to their planet, immediately assimilated them into their own faith and also put them in conditions where they have to train as assassins from the ripe old age of 6 and eventually die of sci-fi lung cancer. But don't worry about it, Drell actually love to serve the Hanar, they do it willingly and consider their servitude an honor. Do you really want to criticize some stupid jellyfish who talk funny? Do you really want to talk about why the so-called Council races do nothing about it? LOL

Another thing the trilogy does is present entire races, including humans, as amorphous blobs. Do all Asari believe in the same "goddess"? Do all Turians obey the same Primarch? Well, what's important is that all humans in this bright future speak English.

But what about the genophage? That's a profound story, right? Well, not really, and it raises more questions than it answers. We hear a lot about how brutal, aggressive, and short-tempered Krogans are, but every single Krogan we meet is extremely well-mannered, and they only resort to violence against other races in dire circumstances. So why not save them? Does the game really present you with this moral dilemma or not?

And can anyone tell me why Salarians are allowed to abduct and experiment on sentient beings, and why Turians are allowed to wage wars? Why does no one talk about Asari in this context?

I really want to say that at least the characters are well written, but I can't because they're not.

Kaidan is a good example of this. We are told about his implant, we are told that he has chronic pain, but do we see him suffer from it? Do we see him in those moments of weakness and vulnerability?

The scene where he gets annoyed with Jenkins acting like he's a circus monkey who has to do a trick and biotically throws a cup at him was cut from the game. We occasionally hear him mention some of the side effects of his migraines ("Too many lights, too much noise"), but that's about it. What has happened to "show, don't tell"? And no, I'm not saying that the writers should feed me the story or walk me through it. What I am saying is that if you gloss over your characters' mistakes, flaws, and circumstances, you're getting people to ignore them. Do people who call Kaidan "boring" and insult him think about how his chronic pain, his trauma from Brain Camp, and the loss of Jenkins and Ashley affect who he is? Hell no.

Thane is another great example. What Mass Effect is telling us as a story is that you can completely abandon your family and your child and be forgiven if your reason for doing it is good and heroic enough. Like avenging your dead wife, because of course there has to be a dead woman thrown somewhere.

Everyone's favorite Garrus (mine too) is a cop whose character arc basically consists of deciding that he is above the law (since the law forbids him from killing people he thinks should die) and then involving his squadmate/friend/partner (depending on your playthrough) in the public assassination of his former squadmate, whom he never even bothered to confront first. Are there any consequences for Garrus for his actions? No. Again, it's all glossed over, and that's unfortunate because it removes the conflict and therefore the character development and depth.

And if you're going to tell me that ME is just a space opera, and that I should just enjoy the spectacle and the romance, then I'm going to tell you that I know that, and that I think it's a wonderful spectacle, and that some of the romance subplots are absolutely amazing story-wise, but the superficial commentary (or lack thereof) on the most important issues that ME covers actually harms the audience.

Fandom

On the one hand, we have people making mods that remove all the clothes from all the female characters (or remove all of femShep's organs and replace them with giant tits). We have people reposting that horrible, horrible art of Miranda and Jack fighting, tearing each other's hair and clothes, and maleShep smirking and saying "I should stay". We have people who say ME2 is the best game in the series because "there are no f*gs". On the other hand, we have people saying things like "there are two Commander Shepards - female and the wrong one". We have people who say "only weird people play as dudebro in 2024". We have people who think that simply playing as a female character is some kind of feminist statement, and that it makes them better and smarter than everyone else (the same people who use the term "dude gamer" as an insult). And all of those things are kind of the trilogy's fault.

Both maleShep and femShep have the same story. The only differences are the romance options, sexist remarks directed only at femShep, and flirtations from various NPCs directed only at femShep. What this tells you is that sexism exists in the Mass Effect universe, and only women suffer from it. It also tells you that only women are worth flirting with.

Another thing this game does (and modern games like Cyberpunk do the same thing) is equate the female experience to the male experience by giving both femShep and maleShep the same lines.

So there are some mixed signals here. Sexism exists and doesn't exist in this universe, Shepard is both genderless and very gendered, romances with underdeveloped characters are all over the place, and bigots thrive in this kind of environment.

The lack of commentary, the lack of perspective, the disastrous worldbuilding allows you to freely choose your sexist, racist adventure and not be punished by the story in any way.

Mirrors

There's a passage from Solaris that I absolutely adore and think about often.

"We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. […] We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us; but we can't accept it for what it is."

I think that perfectly describes what Mass Effect is as a universe. And in a way, it's a reason why it's so compelling. It's just empty enough for us to invest in it, to fill in the blanks of that narrative with the stories of our own. And it's also a reason why this fandom is a fucking hellscape.

[fandomfluffandfuck]

Autistic Steve Rogers my beloved 🫶🏻🫶🏻🫶🏻

Steve who just thought he was different. He didn’t really care too much, too worried about the fact that his body was constantly failing, the money that wasn’t there that needed to be there, the fact that his Momma was gettin’ sicker by the day. Who cares that he can’t understand most of the other kids at school.

Then, he wakes up. His baby’s gone, his life is gone. And for some reason, he still ain’t got a clue how to talk to people. He sorta thought Erskine would fix that, but… maybe be don’t need fixing?

Sometimes he hates being this way. When he does press conferences and has to wear special contacts that Tony designed so that the lights don’t get to him so much, and the earplugs (also Tony) that make it so he processes noise better. During said press conferences, he has to have Nat next to him to basically translate. He feels like he’s crazy some days. A lot of days. 

Other times, he wants to cry over the stupidest things. Why do the tags on my clothes feel like claws? Why does the taste of a certain food make him want to crawl out of his skin? Why can’t he be normal?!

Bucky comes back, and Steve clings to him. Bucky knows, Bucky understands. Bucky knows that sometimes physical touch drives him up the wall, and that sometimes he craves being hugged until it feels like he’s being crushed. Bucky doesn’t judge him when he can’t make eye contact, when he has to hole up under piles of covers because the world is too much. Instead, Bucky just makes him his favorite food, gives him his big headphones and weighted blanket, and holds him tight if he feels up to it.

Steve Rogers, who shows little kids like him that it does get better, and that they’ll be okay. 

No, but there really is something about Steve that makes so much sense when compared to the signs and experience of autism!!

(Also, generally, that's something I love so bad about Steve's arc and character. You can apply so many lenses to him and see his story as an allegory for so many different things. Queerness especially.)

"Steve who just thought he was different. He didn’t really care too much, too worried about the fact that his body was constantly failing, the money that wasn’t there that needed to be there, the fact that his Momma was gettin’ sicker by the day. Who cares that he can’t understand most of the other kids at school."

YES

I agree wholeheartedly that he doesn't need fixing. However, when he first wakes to the future, he probably just brushes it off because it's been so many years. Of course, he can't talk to people! There's nothing going on with him. It's an excuse to bury the tugging feeling of being different that he sometimes hates so much 🙃

Ooh, and that's so interesting--the contacts and earplugs. I'm always so intrigued to think about Steve's hyperattuned senses and those being affected by his autism, too, would, I can only be imagine, make shit like press conferences practically agonizing. Sandpaper against his skin. Special contacts and covert earplugs would probably do him a lot of good!

Speaking of Steve's superhero responsibilities interacting with his autism in layers, I bet those sensory overload/texture issues/clothing sensitivities get so much worse post-mission when he's adrenaline crashing. And now I'm picturing him crying and twisting violently around to rip himself out of his cap suit, and I just hurt my own feelings. Oof.

But Bucky being back, yes!

Bucky understands, and it's enough for Steve. And, maybe, if you're thinking that Steve has no idea why he works the way he does since he probably wouldn't've been diagnosed in the 20s, he could encourage him to seek a diagnosis. I enjoy the headcanons that Bucky, being a science nerd, would adapt to modern technology faster, so maybe he finds online others' experiences with autism or whatnot? And I get that being diagnosed is controversial within neurodivergent communities, but I do imagine having a formal one, as a national icon, would have profound ripple affects on Americans and Steve might seek it out, if not for understanding himself, then for the greater good and lessening of stigma. Exactly what you wrote-!

"Steve Rogers, who shows little kids like him that it does get better, and that they’ll be okay."

I hadn't read that yet when I wrote about him being an example, lol, but great minds think alike.

Anyway, yes! Thank you very much for the thoughts <3

P.S. I think you'd like these @turtle-steverogers posts about autistic Steve Rogers here and here

[timeloop-observer]

time loop Stands For Some Things question mark? mostly just curious about your interpretation of the metaphor(s) there as someone only vaguely familiar with the game. sorry for stumbling on your special interest blog and asking for the literal ABCs of isat im just soo questions

ok well the thing is the things that the loop stands for in isat are Big Spoilers. so uh, go into the read more at your own discretion? also keep in mind this is just my interpretation

the way i see it, the loops can be read psychologically and metawise. psychologically, it's all about being trapped in patterns of behavior. conversations that you've already had dozens of time before, things that you and the people around you keep doing, cycles that repeat for no one's benefit, safe for the unintended effect of not having to change or open up about your issues. siffrin keeping himself and his party hostage by not being vulnerable with them but refusing to let them leave out of fear and love. and thus making the same mistakes and doing the same things over and over until they get so burnt out and mess up so hard it threatens to Ruin Everything (where the game once again ramps up siffrin's subjective perception to cosmic cataclysm proportions via wish craft).

metawise, isat is also a commentary on how hard it is to leave a good game behind. the story is framed as the endgame area of a different jrpg (which i'll refer to as "the larger game" from here on out) for a reason: siffrin is effectively the player being unable to reckon with the fact the larger game is almost over. running around with different sidequests, trying to find more ways to spend time with the characters, feeling the endgame grind of fighting against enemies time and time again for exp, doing anything and everything to just not let the game go. it even escalates to the point of their attachment becoming warped, ironically getting so invested that they wind up flattening the complexities of the story and characters that they loved so much it caused this (siffrin with their stageplay metaphors paralleling how some people become hyperaware of the fact they're "playing a game" and "trying to 100% it" which ironically even happens to isat).

the two allegories are in my opinion two sides of the same silver coin and serve as another element of what makes siffrin so compelling (not to mention relatable, i only thought of the psychological angle because i sometimes feel like i'm in a timeloop when a depressing situation happens that has happened before- I MEAN WHAT).

[bestworstcase]

I think it'll be interesting when RWBYJ tells everyone about the ever after, specifically Oscar/Ozpin. I think that'll be a hell of a slap in the face to those two. Imo it's pretty clear that Oz doesn't like the Brothers (his lie for his curse literally puts them in the WORST light to anyone who hears it), but isn't exactly open about it nor does he think on it much. But hearing that the 'gods' are essentially just people who got kicked out of their home would make him. Well I hesitate to say that he'd flip the fuck out, but I definitely think he wouldn't be happy at ALL. I'm sure he'd be furious while simultaneously having an existential crisis.

Frankly, Oz is just. An interesting character when it comes to his thoughts on the Brothers. He went from more or less listening to Light without question (but immediately started questioning when Salem talked to him- "Unsure of where his loyalties still lay-" he trusts Salems words but is confused about his stance on Light, perhaps afraid of questioning him), to putting them in a bad light repeatedly and more or less giving up on his task (there's far far easier ways to unite the world i.e. war- why would he deliberately make it hard on himself? He's far from stupid. He still foes his best to foster peace because why wouldn't he?). And, now, he's actively fighting his curse, and is doing so the second he got an ounce of hope.

I think why he hasn't really thought of fighting the Gods is bc a) he's still scared of them (and it makes sense, I'd be scared too) and b) he never knew that they, well, were just people. I think he'd need some convincing, but I really think he'd be happy to try his hand at giving Light a piece of his mind lol. Something tells me Oz has millennia of bottled up anger- something will eventually be the straw that broke the camels back, as even the most resilient of people can break.

Though I think the biggest issue would be the idea of teaming up with Salem. He's bitter and terrified of her, and although we don't know exactly what's happened between them since their first fight (beyond Oz spending several lives as an alcoholic, then wandering Remnant being reminded of Salem (not necessarily bc he thought every Grimm attack was her, Grimm just remind him of her)), it's entirely possible Salem has also done... something to hurt him. No one's that bitter or terrified of someone for absolutely no reason, but whatever the reason is, that'll definitely be an obstacle between him being allied with her against the Gods. Plus she also, yknow, tortured him and allowed Hazel to torture him (which Oscar took most of it, but they're in the same body).

I think that interaction would be... interesting. Especially since I really don't think Oz even is 'Ozma' anymore. Ozma is the foundations yes, but the merge changes you fundamentally. He has changed his name every lifetime (if Oz doesn't accidentally answer to the name Oscar I'll eat my left shoe), but how much of him really is Ozma anymore? Ship of theseus and all that. If he, by all accounts, isn't 'Ozma' anymore and Salem isn't aware of this, I think it'd be an interesting revelation for her. There's similarities between Oz and how he used to be, but I feel like 'Ozma' is functionally a deadname for him (Oz trans/DID allegory? /j). Especially since I think Ozma is just- not who he is anymore. He's tried living up to the name, but he can't and he knows it (the words his illusion in v9 says speaks a lot to his mental state and his opinion of himself).

God speaking of his illusion on v9, I think it's incredibly clear that what each illusion says pertains to that character in some way. And it says so so much about Ozpin and how he sees himself. It's ironic how the God of Light, associated with creation, made him, yet he thinks that all he does is destroy. He's scarily good at splitting people apart just accidentally (i.e. v6, Summer basically throwing him under the bus thus STRQ broke apart and blamed him, etc) too. Yet Salem, immortal via Lights curse, made herself through Grimm and is very good at rallying people. Dunno, fun thought there (it's why swap aus are so damn tasty with these two).

Sorry for the long ask, I just wanted to ramble in your inbox for a bit. I have many thoughts about Oz.

not. to be snarky but

To live free or die, it’s all the same The enemy was right, there’s no reclaiming In waves of shame We’re desperate to make amends But through a simple soul we lie complacent  Love brings us dreams But grief makes the heart burst at the seams  As light fills my eyes I’ll picture me beside her And pray that I’ll inspire  I promise I’ll be here until the end I promise I’ll be here until… Our story has been told Til our bodies break down every door Til we find what we’ve been looking for

terrified she’ll never forgive him and terrified of what will happen if she confronts the gods again, yes. but terrified of her?

the enemy was right. we’re desperate to make amends. grief makes the heart burst at the seams. i’ll picture me beside her. ozma isn’t terrified of salem; he is, explicitly, ashamed of himself and desperate to make amends and longing for her.

listen. you don’t have to go salem did dot dot dot something to hurt him. we KNOW exactly what she did; rejected the mandate, fought him, burned him alive. they blew up their home and killed their own kids. is this insufficiently traumatizing to explain him.

similarly i do not have to go ozma did dot dot dot something to salem: we know exactly what he did. we know why she’s furious and bitter and still hurting. it is not ambiguous.

he’s spent the intervening centuries hiding inside a narrative where salem is the Great Evil he must defeat because the guilt he feels for deceiving and manipulating her and the grief for everything he sacrificed is so unbearable that he can’t touch it except through layers and layers of distortion. but it’s bleeding through the cracks everywhere. the infinite man tried to be a hero and is a fool who may not be worthy of forgiveness, ozpin suggests. look far enough ahead from the ending of the girl in the tower, and you’ll find the hero who saved her turned out to be a villain.

he hates salem. (he deserves her hatred.) this is the wrenching internal war he fights with himself day after day and life after life; the only way he can live with himself enough to function is by hating her, but the hatred is a fiction, a lie, to protect him from his fear. the truth is that he neither hates her nor deserves her hatred.

i am being intentional about calling him ozma, by the way. i am also intentional about when i call him ozpin or oz. i do not think ozma is a deadname. i don’t think ozma is an ideal he is trying and failing to live up to. he doesn’t identify himself as ozpin; he says “the professor ozpin you all met was not my first form.” he dons these other identities as a mask—i am the combination of countless men who have spent their lives trying to protect the people of remnant—because he hates himself. ozma is who he’s running away from because he doesn’t think ozma has ever been enough.

that is why. salem distinguishes between ozpin and ozma the way that she does. and why she is able to differentiate between oscar and ozma even when oscar is mimicking ozpin, because ozpin is the latest in a long series of masks that ozma wears.

(ozpin is tippetarius enforcing his own exile, and thus he became the wizard. ozma is the true self imprisoned by the curse. he’s… named ozma for a reason.)

”what if you could be anyone?” <- the blacksmith does not ask ruby this question because ruby needs to stop being herself in order to be happy. she offers ruby a metaphorical representation of ozma’s curse—what if you could be anyone, slip into a like-minded soul and become that person—in order to guide ruby to the realization that only her true self is the right fit. this is what i like to call blunt force foreshadowing.

ozma is trying to be a thousand different heroes and salem has only ever wanted ozma. ozma then is not the same person as ozma now, but ozma is ozma is ozma. the ship of theseus is the ship of theseus, then as now. on those who enter the same rivers, ever different waters flow. read heraclitus.

the thing is. yeah. he’s going to snap like a brittle twig when he learns the truth about the gods… because he already knows salem is right, deep down. the enemy is right. it bleeds through even into the lost fable, which is narrated in his voice. jinn’s telling—his telling—obfuscates and twists away from salem’s interiority, her feelings, her motives except for the moment of her realization about the brothers: perhaps the gods were not as powerful as they seemed; she had lied to them, turned them against each other; they were fallible.

the enemy is right. he knows she’s right.

hearing what the kids learned in the ever after is going to shatter the cognitive dissonance preventing him from acting on that knowledge. it’s going to surface ‘until the end’ but now joined to the hope he has—since the end of v8—that he can make amends for his cowardice and lies.

ozma apologizing to the kids and asking for a second chance to earn their trust was, uh, a practice run for ozma apologizing to salem and asking for a second chance. the fallout of the lost fable (“there was so much you hadn’t told us! how could you think that was okay!” and “i gave my life to you because you gave me a place in this world; i thought i was finally doing some good!”) is a reflection of salem’s distress. the narrative is on her side. because. he lied to manipulate her and grievously betrayed her trust. in exactly the same way he did to the kids.

[where-theres-smoak-2]

Ok I am in rant mode again, sorry, this blog just happens to be a place where I dump all my thoughts negative and positive both, unfortunately for all who follow me. But I have seen some bad and incorrect takes from anti darkling/darklinas. So here’s just a few things I want to say.

Firstly LB has never stated that she based the darkling on her ab*sive ex. This is misinformation that was spread by antis. The only thing she has ever said about an ab*sive relationship was that she wrote the first book, Shadow and Bone, at a dark time in her life right after she had got out of a bad relationship. She has said in the past that the darkling was inspired by every bad boy she’s had a crush on in fiction including david bowie’s the goblin king. 

So it seems from these comments like the character was supposed to emulate those types of characters that woman find attractive, the ones you would fall for. 

I’ve also seen the argument that LB clearly wrote the darkling as a villain, well LB might disagree with you there as she herself has said on multiple occasions that she doesn’t write villains: 

LB says that the darkling believes he is doing the right thing and that ‘you can make a case for most of the choices he makes, even the despicable ones.’ So if LB says that she doesn’t write villains and that you can make a case for his actions you can’t really blame darkling fans for doing the same. 

The truth is LB promoted the heck out of both the darkling and darklina (or as it was known back then Darlina and Alarkling) when she was writing the og trilogy, even admitting to ‘fanning the flames’ when talking about people shipping m*lina and darklina and was clearly encouraging the shipping of both ships: 

She also put out teases for the darkling and darklina:

And promoted darklina fan edits even using the ship tags: 

It was only post the release of book three that she changed her tune, likely because of all the backlash she got about the ending of the books. So no LB wasn’t always against fans shipping darklina or liking the darkling. All of this information is easily found with a simple google search, I wasn’t even in the fandom back then being a show watcher first and yet I was still able to learn all of this with minimal difficulty. 

Which brings me to the whole darklina being an allegory for a older man manipulating a younger girl and how the darklina fans ‘missed this’. Well if they did miss it then it was for a very good reason, but the truth is darklina’s didn’t miss it, we just didn’t think it made sense within the narrative, the darklina fandom have talked about it, myself included, in fact I’ve already posted a whole pretty much essay on the topic. But let me explain why some people may have ‘missed it’ and why it doesn’t work in the story or with darklina as the allegory. The first is because LB chose to use an immortal/immortal couple for this allegory. The thing with immortality in fiction, especially as love interests, is it makes age pretty much meaningless. The whole point of immortals is that they are ageless. Immortal ships have always been accepted within fiction and this whole age gap issue has never come up before. Nobody was going omg but the age gap yuck with Bella and Edward when twilight came out, or when Magnus and Alec got together in Shadowhunters or with any of the ships in Vampire Diaries. Yet now anti’s are trying to use the argument that the darkling is 100s of years older than Alina and that’s creepy all of a sudden. Sorry but not in my book, an immortal is always going to be significantly older than anyone else what’s the alternative they spend eternity alone, never knowing love? At least with darklina they are both immortal. Another reason why it doesn’t work is because of how the darkling is described in the book, he is said to not look much older than Alina, so in the books he looks like a teenager. So of course people weren’t going to pick up on the older guy/younger girl allegory because the darkling isn’t presented in the books as an older guy. He’s described the same way every other immortal being in every YA book at that time was. It’s also worth noting that I am not sure if LB ever actually said that darklina were supposed to represent a older guy with a younger girl or whether that was something the fandom came up with. I’m not saying she didn’t just that I myself have never seen a direct quote from her that I recall and I wasn’t able to find one. I think the first time I heard of it was when someone sent me an ask about the topic. I know that she has said it was meant to serve as a warning of attractive and charismatic men being able to manipulate young girls but I don’t know that she herself has ever talked about an age gap or specifically mentioned older men? 

Another thing that I have been seeing alot of are comments like darkling/darklina fans only like him because he is hot. What bothers me about this is firstly even if that were true and the only reason people liked him was because he is hot, so what? There’s nothing wrong with that, its fiction and fiction is used to escape for a bit, its for enjoyment and entertainment, so if that enjoyment and entertainment comes in the form of staring at the hot guy irregardless of whether they are the hero or villain, let them be. Why are you criticising the way someone enjoys fiction? Sometimes a gal just wants to look at the hot guy. Secondly its just a really irrelevant argument because the darkling is not the only hot, charismatic character in the books or show. M*l is also described as being attractive and charismatic with no shortage of friends and girls, Nikolai is another character that fits that description, so by this argument the only reason M*l fans like him is because he is hot, and the only reason Nikolai fans like him is because he is hot. Thirdly its just plainly not true, whilst I am sure there may be some fans who only like him because he is hot, again nothing wrong with that, most fans like him for a variety of different reasons because he is an interesting and complicated character. As someone who spends a fair bit of time in the darkling/darklina tags the most common reason I have seen for fans liking him is because of his dedication to the grisha, his willingness to fight for the grisha something that he has dedicated 100′s of years of his life too. Personally I like Aleksander/the darkling because he has a sympathetic backstory, because he is fighting for the grisha and when seeing that they had no place to go where they could be free from fear he vowed to make them a safe place, a sanctuary, of course I am going to root for that goal too. I like him because he is complicated and complex and despite being an immortal being who has become deeply effected by past traumas there is still something beautifully human about him, particularly in the show. I also like the connection he has with Alina, the whole yin/yang of it and them being each others balance. I love the complexity and angst of them having this deep connection and pull to each other but also having this anger and sense of betrayal, how they have to try and navigate around having different points of view and seeing the world in a different ways, it makes for a very compelling story and their chemistry in the show is electric. The fact that he is hot is merely a bonus, but even if he wasn’t a conventionally attractive person I would still like his character because of those complexities, because of that connection he has with Alina. But one thing this rant has done is make me curious as to what my other fellow darkling/darklina fans like about the darkling? What drew you to the character? Anyway that’s enough ranting for one day, again my apologies, I am going to go and rewatch season 1 of shadow and bone in preparation for season 2′s release tomorrow...sheepishly shuffles off my soapbox, waving awkwardly.   

[princess-of-the-corner]

God I forgot about Qilin. Cool asfk akuma, arguably one of Gabes best designs, dragged down by the fucking ticket inspection and bringing in the goddamn army. (As well as how the episode felt like it was written avid ACAB Enthusiasts)

my problem with the episode is that it's a bit all over the place in a few spots like.

Firstly take this with a grain of salt because I'm white af

Okay. This is supposed to be an episode about racism and the cops being harder on minorities. But it doesn't.... come across that?

The ticket inspector was initially doing his job. Sabine didn't have a bus ticket. Yes it's because Mari got off the previous stop with the tickets, but if he handwaved everyone who said 'oh I totally bought a ticket but I lost it'.......

Now he does get unreasonable after that, accusing her of being hostile, having her arrested instead of just printing a ticket, etc. But this is also a show where the 'you seem to have broken a law so you immediately get arrested' is not out of place. (I mean sometimes it is BUT it's a 'what works for the story' thing). Doubly so as the target audience is children who sometimes do think 'oh god oh god I sneaked one extra candy they're gonna send a full swat team and arrest me and I'm gonna go to jail!!'.

Then you have the whole thing of literally all the cops showing up for one lady and then the Akuma and then the cops ignoring LB and CN in favor of blasting the Akuma with weaponry despite months of the Heroes handling this on their own. Which at first seems out of place until you remember episodes like Rogercop where all the cops weren't mind controlled they just went 'yeah I guess the obviously Akumatized(controlled by supervillain) cop in a mech suit is in charge because the mayor, who he kidnapped, said so. Time to arrest the Heroes!!". So while it hasn't happened in a while, cops just acting Like That™ aren't out of place in this world.

And like. The ticket inspector is a rando who is only seen here going against Sabine, but we have no idea how he'd act with a white guy breaking the same law. And Roger has been shown to be corrupt as hell toward white people(specifically the Couffaines who as far as we know are white). So it doesn't quite get the message across that this is out of the norm.

Then you have Marinette having to apologize to the ticket inspector who, at this point, is now much more reasonable of 'well she did technically break the law by riding the bus without ticket or ID, but given the circumstances we'll let it go' but Mari insists on paying the fine like he was in the right.

Honestly I feel like this episode suffers from not being direct about what the issue is. Yes it's implied that it's a racism thing, yes most of the audience including the kids will probably pick it up. But when you give that much wiggle room on 'what is motivating this character's actions', then combine it both with stuff that's /supposed/ to be extreme but is par for the course in the series and the protagonist apologizing to the guy who instigated all of this.... it gets very mixed and it can get lost and make people who do see the allegories wonder if they're just reading too much into things.

And I don't know exactly where to place the blame on. Did the writers pull back to try and make the situation more 'relatable to everyone' thus making it relate to no one? Was it a bigger thing of the studio or S&P saying 'hey you can't depict real racism in a kids' show'?

I mean either way there's some blame on the writers for the other flaws like Mari apologizing and undercutting anything the ticket inspector did wrong. But still.

[jewishvitya]

Anon:

I've actually met J.K. Rowling irl and asked her about the antisemitism controversy point blank. Very politley, she said it was ridiculous. She said she based the goblins on English folklore and nothing more.

It doesn't matter what she says. She can tell us her intent, not her impact. Not once did I accuse her of making the goblins in the books antisemitic on purpose. My issue was that she didn't care enough to acknowledge it and talk about it respectfully. The result stays the same. I laid out how they are antisemitic. It's in the text regardless of what she says.

She made Grindelwald an antagonist who claims he wants to stop the holocaust. By trying to stop him, the protagonists are trying to preserve the course of events where, in real life, the holocaust happened. She used holocaust imagery in her magic movies. I'm not just going to trust her word and her judgment on what's antisemitic. Be serious.

As for the game, most gentiles I know don't even know what a shofar is.

Even if you completely disregard the horn, it's still a storyline of blood libel using an antisemitic depiction. The only reason the horn is a problem, is that they put it in the hands of antisemitic caricatures. I'm not claiming ownership on the concept of ram's horn instruments. I was clear on that too.

As for the 1612 parallel, I genuinely don't know where that came from. [...] In fact, the one people keep referring to happened in 1614!

The Fettmilch uprising was a series of events that started at 1612. A bigger expulsion of Jews from the place was at 1614, but the attacks started before that, at 1612.

If you play it, you'll find trans and gay characters that are amazing and so fun to interact with, as well as an overall theme of antiprejudism.

Sure, I'll go ahead and interact with those fictional trans and gay characters. It sounds so nice. I'm sure I'll enjoy them enough to make up for giving money to a person who's at the forefront of the current attack on trans rights. Trans people dying in reality while she emboldens transphobes and makes it her entire online persona? That just isn't upsetting enough for me to feel repulsed by the idea of supporting this.

As far as I'm concerned, she has blood in her hands.

A theme of anti-prejudice is nice. Not compatible with the plot where you have to put down a rebellion, and not compatible with her behavior in reality.

But Rowling's world doesn't really lend itself to themes of anti-prejudice. She has:

A slave race where wanting to be free makes them weird, and if one is freed against her will, she becomes an aimless drunk. Our protagonists decorate their decapitated heads with Christmas hats. The idea of freeing them is a running joke, and the protagonist ends up a slave owner.

A werewolf community of HIV+ allegories where all but one person join the wizard Nazis. That one person ("the good one") poses a danger to innocent people more than once.

A race of greedy ruthless untrustworthy fantasy bankers, who are legally barred from having an equal place in society and shown as vicious for their attempts to fight for it, who have their cultural rules of inheritance constantly disrespected, and only have a place for their usefulness in crafting and managing the banks.

Giants who are shown as victims of wizards but also as dangerous creatures barely able to think.

Rowling doesn't understand prejudice. In her world, all the prejudiced opinions wizards have against the marginalized are correct. The slaves want to be slaves, the werewolves are dangerous, the goblins are greedy and bloodthirsty, the giants are violent and uncontrollable.

She doesn't have an issue with prejudice - as long as you're polite about it. She has an issue with outright physical violence, with rudeness and slurs, and with job discrimination. Beyond that, she doesn't care. She gets to have a surface-level message of anti-hatred because she can't come up with a villain that isn't literally Hitler.

[greater-than-the-sword]

Hey could I ask, what's your issue with The Shack? I've never liked it but that's just because I don't like crime/horror stories. Thus the premise - the event that caused Mack to go on his journey in the first place - didn't resonate with me and I couldn't follow his reasoning process. I thought the message of realizing that you're a sinner (the justice cave scene), receiving forgiveness for yourself as well as to move towards forgiving those who hurt you the most were quite powerful though. Also I have close to no issues with 'Papa' being a woman because femininity has to originate somewhere within God's character. It's not weakness or an insult, it's neutral. God can stand it and I dare say, will even choose to embody it as long as he is not limited to this form of appearance. It was an illustration. People usually know the difference. There's zero complaining about the fact that Aslan was a lion in Narnia, is there. If anything, The Shack caused actor Chris Pratt to become a believer, which is something to celebrate, no? My take is, each to their own. I didn't like it, but it seems to have helped a lot of people in their faith to receive God as a more loving father. I don't like The Chosen either, as it is equally as reductive to Jesus' person, making him "historic" and "fun", still the show seems to impact a lot of people positively. So. Thoughts?

There's a few different arguments here and i want to address them separately.

1) "The Shack" caused Chris Pratt to become a believer therefore it is good.

Now, I believe that God can use bad things for good. Just because God used something for good doesn't mean that all its attributes and statements have been endorsed by God.

2) Femininity is from God therefore we can portray God as a woman

First of all, I want to point out I have an issue with visual depiction of God the Father in the first place. Depictions of Christ get a pass because he is a man; God the Father was not incarnated in this way and no one can see Him. It feela sort of sacreligious to me in the first place to depict him at all.

I want to point out that feminine allegories of God don't offend me, for the very reasons you gave, but this character is not an allegory but a literal depiction of God. Which also puts a lot of words in God's mouth and I mean theological statements. Statements which are also unbiblical. For example, this is not a movie where forgiveness is found in the cross of Christ but rather a universalist movie with no clear reason for forgiveness and you dont really have to believe etc. cuz God is just "too nice" to send anyone to hell or whatever. Not the Christian religion.

3) This is just like the depiction of Aslan in Narnia

All I can say is come on.

4) This is just like The Chosen

No not at all and come on your critiques of Jesus being "historical" and "fun" are bizarre. Are you telling me Jesus didn't live at a time in history? Doesnt every pastor ever try to delve into the historical context of Jesus in every sermon? Wasn't Jesus a human man who doesn't have to be super somber at every moment in his life? Did he not "come eating and drinking"? Come on

[bookaddict24-7]

REVIEWS OF THE WEEK!

Every week I will post various reviews I've written so far in 2024. You can check out my Goodreads for more up-to-date reviews HERE. You can friend me on Goodreads here.

Have you read any of these? What were your thoughts?

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329. Straight by Chuck Tingle--⭐️⭐️⭐️⭐️⭐️

This was SUCH a fun read!

STRAIGHT is my favourite Tingle book so far. I loved the characters, the horror, the wit, and the unique take on the zombie genre.

STRAIGHT had some great commentary on topics like allyship and how the LGBTQ+ community can come together when there is danger. But I also appreciated the exploration of the anger aimed at the community and felt IN the community. One of the things I love about horror sometimes is how certain situations are used as allegories for certain issues in our contemporary society and Tingle's book doesn't shy away from that. I loved how straight-forward the conversation was.

Overall, I laughed sometimes, cringed from the gore, and loved that I read this in October. I think that if you love horror and zombies and queer stories that are just pure fun with some great social commentary, then you might want to add this one to your TBR!

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330. 'Salem's Lot by Stephen King--⭐️⭐️⭐️⭐️

I am slowly making my way through King's work and while some are...something else, others like SALEM'S LOT are truly a great example of why he's been writing for so long.

SALEM'S LOT does one of the things I love so much about King's writing: it creates that eerie atmosphere full of trepidation. It felt like I was reading IT if it had been slightly faster paced. The way the story is full of foreshadowing, almost immediately uncomfortably creepy scenes, and a heavy note of wrongness, made this incredibly compelling. I wanted to keep reading and find out what would happen next and who would fall next to the pandemic plaguing the small town of Jerusalem's Lot.

I listened to the audiobook for this and I enjoyed hearing King's introductory chapter, mainly because he acknowledged how dated the story would be in parts, which it was. King's writing is full of problematic words and statements because of the time and what would make the reader uncomfortable. I am familiar with his writing so it doesn't put me off his writing anymore, even if it is still jarring as all hell to read.

That being said, SALEM'S LOT was 100% a classic horror story with that King flourish. It's obvious in how he knows how to bring characters to life with the smallest of details, or how he can demonize a whole town by blanketing it with the perfect word choices and masterful atmospheric writing. It was surprisingly to the point and really well-paced.

The characters were intriguing and kept the story moving relatively well. There were some disturbing moments and characters, and some really sad ones. But their actions and/or ends made this story all the more captivating and haunting.

I'd recommend this one if you like vampires and want a story about a town that is completely helpless against its inevitable demise.

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331. King of Pride by Ana Huang--⭐️⭐️⭐️⭐️

While I enjoyed the first book in this series more, KING OF PRIDE was a surprise. I was a big fan of the slow burn and the bursts of spice that freckled the story here and there (since I think that sometimes too much spice can be a bit overwhelming).

I loved the differences between the MCs and how they brought them together. I think one of the reasons why I'm such a fan of romances where the two MCs have a big wage difference between them is because they both help each other grow in ways they otherwise would not have experienced. One teaches the other to be more confident and the other teaches them to be more humble. I like the dynamic too because I love a MMC that treats the FMC like the queen that she is.

These two specific MCs had such a sweet love full of some spicy moments that jumped off the page. I could feel the attraction they felt because Huang let the relationship grow organically, rather than let it be one of those insta-romance novels. I loved how they teased each other and how she helped him get out of his shell more.

I also liked how much integrity the MMC had when it came to business, but also that he took action when he really needed to. I felt for the FMC and her fight against writer's block (because truly, same, bestie), mainly because it was a big part of her storyline and one of the things that kept her confidence low.

The climax pissed me off. Not because of the main couple, but the family meddling. I wanted to slap a few of the characters for their callousness and bullying.

But other than that frustrating moment in the book, I really enjoyed this one. It was sexy, romantic, and full of tension. Plus, that dedication was killer and so was the dirty talk. Phew.

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332. Want by Gillian Anderson--⭐️⭐️⭐️⭐️

WANT was definitely something a bit outside of the norm for me. Mainly because I don't tend to read a lot of Well-being titles (which I'm classifying this as because it's a sexuality book). But I'm glad I gave it a shot because I found it very enjoyable and eye-opening.

Told through stories sent in anonymously, WANT was the kind of collection that a lot of people will benefit from reading because of how solitary sex and any sexual-related thoughts can be. I know there are places in the world where sex is still seen as something taboo and not meant to be discussed freely. I liked that this book gave women a chance to voice their sexual thoughts--even if some fell into the odd category.

I know I connected to some of the stories and they left me wide-eyed and seen. Other stories I didn't connect to, but it was still fascinating to see how other peoples' minds worked. To be honest, some stories were so over the top that I couldn't help but laugh a few times. Not to yuck anyone's yum, but some of these essays were...a choice.

That being said, I did appreciate how diverse the essays were and how they were categorized. I was a little wary at first that I would grow tired of the essay after essay approach, but the occasional re-introduction of Anderson in between chapters helped break up the monotony.

I'd recommend this to anyone looking for essay collections of the sexual variety with some great diversity. There were many queer women and it was great getting to hear their voices!

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333. The Second Chance of Darius Logan by David F. Walker--⭐️⭐️⭐️⭐️

If there is one thing I will say before I write the review--do yourself a favour and don't listen to the audiobook LOL.

^^I stick by this because the voice actor was a man and he sounded absolutely hilarious when he was voicing the female characters. To the point where it sometimes took me completely out of the story.

Anyway, I loved the concept of THE SECOND CHANCE OF DARIUS LOGAN. It was fun and the writing reminded me a lot of the MICHAEL VEY series, which I loved. I love origin stories set in a world completely new to me. I also just liked seeing the MC (who was usually a good teen) get what he had earned during the story.

Walker's social justice commentary was also eye-opening because when we usually read superhero stories, the worlds are completely fictional and often lack the very real issues plaguing our too-real world. Seeing these police officers treating the Black MC in such a racist way made me so angry, both because of the injustice of it all and because not even in fiction do Black teen boys get a break from the racism they face daily. In this way, this aspect of Walker's book made this book all the more powerful--especially because it bursts that idealistic bubble of "it doesn't happen here" when it comes to superheroes in fiction.

Another great part about this book was the exploration of grief and its effect on younger teens who grow without much support after their losses. That simmering anger CAN be a coping mechanism, even if it gets to the point where it can be detrimental. But I liked how he processed his loss and emotions in his own way as the book progressed, especially when he was given a second chance at life.

I'm excited for the sequel because of that somewhat cliffhanger-ish ending. While I wasn't a super huge fan of the narrative style of including too many moments of foreshadowing (I prefer this in horror), I still thought the story had some great pacing going for it and it was highly addictive because I wanted to know what would come next!

I'd recommend this to those who love superhero stories that have a bit more nuance to them than just stereotypical crime fighting.

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334. Our Favorite Songs by Anita Kelly--⭐️⭐️⭐️

One of the best things about these books is that they're bite-sized. Some would definitely benefit from being longer, but I'm glad this one was the length that it was.

I liked the idea that this novella was about two characters who come together after so many years, and have that history of one of the characters hating the other. One of the tropes I actually love is the "I hated you as a teen because I had a big crush on you that felt pointless," and this book had that and it was glorious. I DO think that the one character was a bit over-the-top with his meanness, especially with his biphobic comments.

The spice was good, if a little on the quick side (which I'm not surprised because this is a novella). But it was still some fun sprinkling of spice in a story that had started with such animosity between these two guys.

Overall, OUR FAVORITE SONGS was fun, but it followed a similar pattern as the first novella in the series (with problematic moments that took away from the overall cuteness of the story). It's definitely a good holiday read to enjoy with some tea, while sitting by a window when it's snowing. But keep in mind that there will be some moments in this book that will make you want to side-eye the characters.

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335. The Great Cookie War by Caroline Stellings---⭐️

I received a copy from the publisher a LONG time ago.

First of all, I know this book wasn't for me. This is 100% a middle grade novel that isn't exactly accessible to adults (in my opinion) because of how much I had to suspend my disbelief with certain situations.

That being said, this story was a bit choppy. I admit that I went into this without having read the synopsis, but I typically do this with all of the books I read. But I expected...something else? What I got was a preachy book full of choppy writing and questionable characters--like that grandmother. God, she was awful. There's a scene where she is incredibly horrible to the MC and the "apology" is brushed over by telling us it happened rather than showing us. Which honestly sat wrong with me. We get the entire "I'm disappointed, you're horrible" speech, but not the apology that would make the grandmother take ownership of her abuse on the page for a young reader to see (and acknowledge that adults also need to apologize when they're wrong).

The story just didn't feel like something I wanted to invest my time with and to be honest, I don't know if I'd recommend it to the younger readers who come into the store. Simply because of how the MC is treated, or how choppy that writing was.

I can appreciate what this book is supposed to do and represent, but it was truly not something I enjoyed. I've read various MGLit titles before and this is one of the first times where I finished a middle grade book and felt so much ick.

I'm sure this will be great and relatable for a reader out there--definitely younger readers, and I hope they're able to appreciate it in a much better way than me!

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336. Weird Rules to Follow by Kim Spencer--⭐️⭐️⭐️⭐️

I wasn't sure what to expect from this one, but I was pleasantly surprised to see that it followed the MC over the span of a few years as her life changed and revealed some of the cruel truths of her life in a society that looks down on and excludes Indigenous people. It was an incredibly powerful portrayal of a young girl that was paralleled by the experiences of her non-Indigenous friend(s).

I will say, before I continue, that it was jarring to hear an older woman narrating the audiobook for this one--especially when a child gives the description of the cover of the book. I get that this is probably to emphasize that some of these experiences mirror that of the author, but it took me out of the book a few times.

WEIRD RULES TO FOLLOW was definitely a difficult read, especially as an adult seeing a child being excluded and discriminated against, but also seeing the home life she has and how it was affecting her during some of the more important development years of her life. I am not Indigenous, so I don't have any right to say whether this was done correctly or not, but I do want to say that I appreciated this story and the voice that the author gave to this young character.

I think young readers should read books like this one because even though it is set in the 80s, I'm sure there are still things they can relate to--especially in how their own families or friends or people around them interact with/talk about the Indigenous community. And there is, of course, mention of "those schools" (as said in the book), which shows the dark and complicated relationship there with residential schools and the trauma and hell they brought with them.

I highly recommend this book. It's short and powerful and poignant. And even though it's technically historical fiction, it is incredibly timely.

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Happy reading!

[weaverlings]

i think one thing that's especially awful about the dm fandom is indeed the way so many white fans are eager to play off the racism as like. Just a character flaw or quirk, even when the work does seem to treat it otherwise

these are thoughts i have considered for a while formulated based reading what Black bloggers have had to say and brought on by this post but i didn't want to derail that at all

white fans treating laios' ignorance of toshiro's name as a cute thing. no it was racist. laios just breezed over toshiro's name and maybe he originally did so because he didn't like... adequately listen/understand toshiro, and that was because of the autism. that reason isn't acceptable and certainly not an excuse. laios just brushing over a name with an origin in a (let's say) non-"Common" language is racist.

and marcille's racism is both very real and when it is portrayed, it's clearly shown as a problem... tbh though, i think the fact that the narrative focuses more on how she patronizes falin as a result of the elves' paternalistic attitude toward short-lived races (not that it does this a ton, exactly, but it's more relevant to the story than her racism toward orcs), while her frankly cruel and callous ignorance toward the orcs is contained strongly in a few chapters and addressed in an afterschool-special-y way where she never offers a meaningful apology but more just um. a grudging acknowledgment of the fact that orcs are people? is sloppy handling. that one post about how marcille is conservative is incredibly true and while she starts to learn better, i don't think we get to see enough of that learning process for it to be meaningful. and it's definitely not one of the funnier aspects of marcille's character??

this isn't to say that the work itself isn't racist, or that its approach to racism in the narrative is good. fantasy racism as an allegory is a bad concept, i think - dungeon meshi may do a few things better, insofar as the bar is under the ground.

part of it is simply making all these races actually human, and then making it clear that the distinction between human and non-human sapient races arbitrary to the point of basically being an excuse. number of bones?? however, this also touches on a flaw of the work imo; a lot of these issues are touched upon in canon, yes, but only in supplemental materials as opposed to the narrative proper.

another thing that i perceived is that the oppressed groups actually do not pose nor are they presented as genuinely posing any threat to the oppressors (again a bar under the ground thing, this shouldn't be noteworthy). like, the orcs are painted as violent and malicious by other races in-universe, but it's not like. predator-prey dynamics between them and other humans, or the orcs having ~dangerous powers~ that would supposedly justify their oppression.

and yet. that doesn't make the the presentation of orcs less racist in the context of reality. like using racialized features more heavily on characters who are also depicted visually as more animalistic. the orcs' positioning in the narrative is undercut by this, along with the lack of Black and brown characters of other human races. like yeah there's not literally zero but those that are there are indeed often not drawn/rendered well AND in a narrative work that is evidently trying to think about race, this issue stands out even more. or it should.

i do think dm tries to address the idea of race in the work. ultimately i don't think it succeeds very well. however all of this was originally intended to just be about how frusrating it is that white fans refuse to engage with any of this in favor of laios as autistic blorbo and farcille... i think it's like. even when a story is actively trying to be about race as a social and political issue, this still gets not only glossed over but sometimes even like! actively de-politicized and de-racialized! "there's nothing racist about dungeon meshi" yes there is! just because you relate to laios doesn't mean he wasn't racist! just because the work is thinking about race doesn't make IT not racist. but rather than engage with that at all, we apparently want to pretend it's just Flawless Fantasy Fun