#and i find the parallels and comparison very fun because i personally think they were both right | Explore Tumblr posts and blogs

dolconfessionsss · 27 days ago

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Some private messages from Devil! Wanted to screenshot these, but there were too much, so copy pasting the messages instead:

Devil here.

I did not expect to actually be asked questions! I'm surprised! I'm well aware a lot of people have issues with me and I have taken steps to address them. I do take feedback pretty seriously even if I have stated I don't want the Discord to be a typical fandom space that doesn't mean it has to be a toxic hellhole for anyone who even tries to engage with lighter stuff.

For the stuff I do like about DoL uhhhh...oh God..uh...

Well okay, I've always stated in the server and in-general that I'm a huge fan of 4 NPCs. Bailey, Gwylan, Harper and Eden. So I'll start with those!

Bailey and Eden obviously have history, having been childhood friends, so I find their dynamic and what they are in the world super interesting. Eden fled from his trauma (He has CPTSD, for those that care), while Bailey stayed to seek revenge (You can find him blackmailing Quinn in-game). That instantly to me creates interesting dynamics and real-world parallels! Bailey is also obviously here contributing to the abuse and suffering that's felt in town.

Hi! I have no idea side blogs have their own dedicated private message. So hey! Thanks to your messages, now I know that LMAO.

Also thanks for reaching out! Honestly didn't expect you to reach out yourself, so I appreciate the forwardness :]

Gonna respond to your answers one by one because wowza, there's a lot to go through. Gotta say first though, shaking my hands with you so hard on finding Eden and Bailey dynamics with each other and the town so damn interesting. The way they responded to their trauma respectively says a LOT about their characters; but also, I've always been a sucker of the 'cycle of violence' theme which made me love Bailey even more than I already do 💖

Harper feeds into tropes I love. He's so weird. I've personally argued that he should use his genitalia less during sex-scenes because I am really into the idea of him just getting off using his weird brain-worms and the power of sheer autism. Puri disagrees with me on that and I do accept that sometimes what I want is just fueled by my own 'tism rather than any sort of proper design lmao.

Gwylan is just wish-fulfillment tbh. I have a soft-spot for Witchy, weird, alternative type characters. Always did. Gwylan fills that spot perfectly. Makes me like them.

Personally not much of a Harper or Gwylan fan since I just don't interact with them much in-game; but always fun to see underrated character like Gwylan being loved!

(+Obviously I'm a fan of Kylar and Sydney, their failed childhood friendships, Kylar being a child of Auriga Worshipers, Sydney of Virgo worshipers, I like the Historical references through the Ivory Wraith, I like all of the Love Interests having their own red flags, I like Avery being a serial abuser and a commentary of how easy it is for the rich to abuse the poor and write them off as nothing more than things to be abused, used or toyed with.)

Fun fact, I didn't even know Kylar and Sydney were childhood friends until I saw a fanart depicting them as such and looked it up LMAO. And we love an old rich bastard being an entitled asshole 🫶💕

For other things I like about DoL they mostly have to do with real-world comparisons, trauma, history, etc. I've made a rather long-post about how I think about the town as a result of insularism and isolation turning a pseudo-Christian faith through it's own localized schism towards what we now have with Auriga and Virgo, aka The Children (The Cult) and The Temple, and how their increased radicalization erased the middle of the town.

I also like the commentary about how easy it is to ignore and normalize violence towards marginalized groups, something Vrel spoke about in a rather good interview from 2022.

As a whole you can see I have a very heavy focus on the worldbuilding, characters and lore, and because of my personal interest in the more realistic aspects of the game or comparing them to the real world it does cause some butting of heads due to it basically being anti-escapism.

That's a definitely another take to have on the game. I'm personally not too big of a fan for the realistic aspects in a lot of medias, most of these are escapism entertainments so we're definitely on the opposite ends of the spectrum on this matter :'D

I'm very open to discussing a lot of stuff about the game, plans and lore! For the Bailey-sex thing I did argue in favor of removing it, but that wasn't anything close to a Solo-Decision. There are 5 or more people usually involved in long-term decision making with PurityGuy and Vrelnir having the final say and veto power always.

Oh no, yeah. I think a lot of the anons have agreed that it wasn't a one-man decision. I figure most of them are more irked by your message of making fun of them. Even if it's done in a playful manner, not everyone will take it as so. Especially when they are probably already irked by the sex scene removal, your comment is like a fuel added to the fire 😔

Soft-Eden is OOC, I know a lot of people like his softer side and that's good. Not all of it will nor should be removed. Mostly the stuff to do with specific dates and going into town. I argue in favor that to not harm his character too much he should get more soft-evens down the line, especially once pregnancy content rolls in. He DOES genuinely care about PC, his actions, even putting PC in a cage and such come from a place of care and worry that unless he does these thing PC will not learn and will endanger themselves.

Thankfully the Eden stuff isn't as bad as the Morgan stuff. Morgan needs an ENTIRE rewrite.

Well I can't wait to see all Eden's rewrites and future new contents. Love me their delusional romance ass <3 Also lol, I don't know anything about Morgan, so I'm just going to take your words on that. Definitely sounds like a lot of work for y'all to do behind the scene, so best of luck on that o7

I can't comment much on the topic of Abortion in-game. It's just something we don't want to engage with. +As both cults in town (Yes tbh even the Temple is a cult), worship life and giving birth no one in town would even be willing nor able to perform it. (Yes I know this can easily be written off as just the writers being puritanical but there are just some topics we don't want in the game. It's not a pure sandbox, it's not just a life-sim. There are gonna be endings, permanent consequences, etc in the game. I think people have a right to choose what topics, fetishes, etc, they wanna engage with, and especially CREATE with as Developers, Writers, etc.)

That's a fair reason, yeah! I think if you were open about this reason being why abortion won't be in the game, it could dissuade a lot of the player's dissatisfication. The main reason why it was such a big issue is I think because no one from the dev team seems closed off about it when asked!

Another thing to note is that DoL has become HUGE, and so it's rather obvious why we'd want to steer so clear from mentions or sexualization of children. We really do mean it when we say the NPCs, LIs, etc are all adults. I'm well aware in fiction for many people anything goes. I've written Ao3 fics, I'm not entirely clueless. The dead dove has been eaten. It's chewy. But yeah, some things are just hard No because we or find it off-putting, immoral or it's outright illegal and could get people like Vrelnir in trouble. Even more so because he makes a living from DOL and donations earned through it.

That makes senses! I know a lot of commerical platforms don't allow sexual portrayal of underage or children character even in fictional context, and I have seen some notable artists being banned entirely for loli/shota contents. But it's also still fair to avoid that just cause the dev team are squicked by it. At the end of the day, it'll be rather unhealthy to create something that actively discomfort you :')

If you have any more questions feel free to ask! I'm basically terminally online most days, sometimes I just dip and aren't seen, but I should be around to talk today until the evening.

I do have to say you've been pretty reasonable and communicative, that's really what actually inspired me to reach out. I'm used to communication being just shut-off or one-sided but you did ask genuine questions and put forward some good points.

Once again, thank you too! I'm glad my overall impresson have been mostly positive 💖

+My evilness is mostly an act to keep the server Dev-Focused and not cause me to tweak out after the 56500th mention of some fetish. (Yes, yes I'm well aware people are still gonna do what they want and it's a porn game server (even though we don't allow most kinds of NSFW talk, we don't have porn channels, etc) but I want to try to at least police the place a LITTLE bit... And I'm not always evil. I often feed chat little mini-fics and such.)

- Devil. Yes, the one with the red role in the server that appears when her name is mentioned. Yes I'm aware it's comedic.

Oh I forgot you're not IN THE SERVER so have no context for the last bit.

We have a Bot in the server that pings us in DMs when certain words (mostly slurs, insults etc) are mentioned and we get pinged for our names.

So people can literally *speak of the Devil* and I appear. Yes it's as funny as it sounds.

I do have to disagree with the 'evilness' that you act out. If someone is breaking the rules, as an admin, you have the right (even expectation) to moderate it! Be stern! Give out warnings, strike or a ban! But I just don't see how putting up this evil act is going to be helpful to prevent more rule breaking. It made it feels like there's no rule breaking happening because no moderation is being done, and that you're just picking on someone out of personal icks.

It's just overall off-putting, in my opinion. And bringing up contents made by users from their other social media unpromptly feels incredibly rude to me. They are all publically available, yes! But if someone were to suddenly show me an old, awful fan content I made without so much as a 'hello', it would definitely leave a bad taste to me - even if the intention are lighthearted and I know that, still won't change that it'll leave a bad impression to me.

On another note, the name mention is actually a really neat feature :0c So it still mentioned you even if a user didn't specifically mention you?

I tried to send that as an Ask btw, but it was far too long and so couldn't. You can screenshot this and share it, just please crop out my account!

Oh and if you're wondering yes I am aware who was sending you the long ass formal Asks, it's a friend of mine.

I do genuinely care about how the community feels and I felt it was good to reach out, I just needed their help to see if you were open to talking and how you felt and all that before I BELLY-FLOPPED into your DMs!

Oh, just remembered something I forgot to say.

SYDNEY IS VERY MUCH NOT A PURITYGUY SELF INSERT LMAO. LIKE VERY, VERY MUCH NOT SO. SYDNEY IS A SPINELESS PAIN HUMONCOLUS THAT IS DOOMED TO SUFFER. (I can explain what I mean if you have questions.)

I definitely think anon is just speculating, nothing that's concrete. I can't blame anon entirely though, it's not too hard of a comparison to make since PurityGuy's whole aesthetic is very much like that.

And ooh, I'd love to hear more about you mean by Sydney being a 'spineless pain humoncolus that is doomed to suffer' 👀🍿

I've also been curious about how the contributor system works? What changed now that prevent OOC writing from occuring again, or to lessened it instead? 🤔

#bailey the caretaker #eden the hunter #harper the doctor #gwylan the shopkeeper #sydney the fallen #sydney the faithful #degrees of lewdity #degrees of lewdity confessions

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ananke-xiii · 5 months ago

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Castiel: vessel, body, woman, (best) friend.

This title comes from a previous post of mine where I talked about Yockey’s episodes in s12 and how they all deal with the theme of interconnection between motherhood/fatherhood and human vessels vs demons, angels and other humans. Ultimately, the post was about Kelly Kline, the final “doll”, the real one, true vessel used to pour angelic grace in, give birth to a Nephilim and be discarded once her “job” is done.

However, since I’ve been thinking about the mothers of gods and monsters and how they all, in some way or another, end up being associated with Castiel, I’ve found an interesting discovery about “Lily Sunder Has Some Regrets” (the linked post about mothers and this one seem to be disconnected now but it will all make sense with later posts, I promise).

I’ll quote myself from my initial post in order to explain my theory:

Cas: Benjamin is always very careful. Long ago, he found a powerfully devout vessel in Madrid, and her faith, it… she gave him everything – her trust and her body. Dean: Wait. So Benjamin’s a woman. Cas: Benjamin is an angel. His vessel is a woman. But it – it’s – it’s more than that. She’s not just his vessel. Sam: She’s… She’s his friend. Cas: Yeah. Benjamin would never put her in unnecessary danger. So Lily killed Benjamin, the angel AND the “powerfully devout from Madrid” who’s first described as a vessel, a body, then as a woman, then again as “more than that/not just a vessel” and ultimately as a friend (with a romantic undertone to the word). So we GOTTA ask: when is a human being just a body? And when a vessel? Are there “vessels” and “not just [some angel’s]vessel”?

I’ve always interpreted this dialogue as an interesting lesson on “Angels and Gender Politics”, and it is, but maybe there’s something less intellectual and more mundane about it. Maybe it's just the same-old SPN parallels technique. But more fun.

“Vessel, body, woman, friend” is how the powerfully devout woman in Madrid is described. But in this episode, “vessel, body, woman, friend” is also Castiel. Castiel is the powerfully devout woman in Madrid and Dean’s… her Benjamin. There’s a complete reversal of roles here where Cas is paralleld to a human and Dean’s his angel which I find very interesting.

The comparison between Dean and Benjamin starts even before the Castiel-woman-in-Madrid one:

CAS: It was, um... Look, Benjamin wouldn't call for help lightly. And he wouldn't put himself in harm's way if he could help it. DEAN: Wow, this Benjamin seems like he's pretty cool, you know. Like he wouldn't make any half-cocked, knee-jerk choices. CAS: Yeah, you know what I like about him? Is that he's sarcastic, but he's thoughtful and appreciative, too. DEAN: Now what is that supposed to mean?

What Dean is saying here is that Benjamin is not Cas because Benjamin sounds like a cool type who wouldn’t make reckless decisions (while Cas is not this type of person). But what Cas is saying is that Benjamin’s like Dean because they’re both sarcastic but Benjamin is better than Dean because he’s also thoughtful and appreciative (while Dean’s not).

Let’s see if I’m right about this.

Vessel.

The moment Cas meets Ishim and Mirabel he just has to open his mouth and say it: “Kept your vessels all this time. I'm impressed”. Ishim and Mirabel say that they were not careless with their vessels like Cas was. Which, of course, means that they’ve known Cas in is “old him”, his old vessel.

Body.

Whether they like it or not (and Ishim doesn’t like it because he thinks humans are apes, monkeys and primates which, to be fair with Ishim, is not technically not true however he does throw shade at us) angels on earth are incarnated beings, meaning that to live on Earth they need to take… a body. Specifically, a human body (no cat angels for us). Human bodies, however, are, from an angel’s pov, weak. Ishim might have been careful with his vessel but this doesn’t mean he can’t get hurt. Lily doesn’t manage to kill him in the alley but she hurts him a great deal because his wound is deep and healing it will be painful. Bodies suck, huh? But maybe also… not so much after all.

Woman.

The big reveal of this episode is that Cas’ old vessel was a woman. We don’t know anything else but the fact that she was a woman. We don’t even know if Sam and Dean know about it because we see the backstory through a flashback while obviously they don’t. They must have wondered because they know for sure that Castiel took Jimmy Novak as his vessel after resurrecting Dean. Whatever the case may be, though, what we know is that that was the first time Castiel possessed a person to visit Earth.

Friend.

Friendship is one of the episode’s themes. It’s not the central one but they do bring up friendship a lot. Benjamin and the devout woman were "friends". Benjamin and Castiel were friends. The angels in Ishim’s garrison were friends. Sam and Dean are friends with Castiel. Dean and Castiel are best friends. Since Benjamin and the devout woman were established as “friends”, meaning that they were a little more than that, then where does it leave us? Well, frankly the usual: Cas and Dean are more than friends. Woah, what a surprise, I absolutely did not see that one coming.

The scene that confirms that my theory is correct is when Ishim dares Dean to finalize the sigil and blast every angel in the room. You see, “Benjamin would never put her in unnecessary danger”. Neither does Dean with Cas.

The scene also pretty much sums up the whole episode as far as the theme of “vessel, body, woman, friend” is concerned. Cas has healed Ishim who’s now fully recovered and brimming health from every pore. Cas, on the other hand? Not so much.

ISHIM: I used to envy you, Castiel. You believe that? ISHIM: You survived Hell. You were chosen by God. But now look at you. You're just sad and pathetically weak. ISHIM: So now... I'm gonna help you. I'm gonna cure you of your human weakness same way I cured my own– ISHIM: – by cutting it out. DEAN: Don't move. ISHIM: Do it. You blast me away, you'll blast away every angel in the room. I'll survive. Castiel, on the other hand, he's hurt. He might live or he might just end up a bloody smear on the wall. Roll the dice.

Castiel’s “bodiness” is exposed in this scene, but there is a… ahem… “positive” side? Unlike the poor guy that Ishim is wearing as his meatsuit (ugh), Cas doesn’t have to worry about his vessel’s safety but his own. He is his own vessel now (well, he kinda still stole the looks from Jimmy Novak, nevertheless his vessel has become his body. An angel with his own body, crazy, I know. Maybe this is really why Ishim is jealous of him). Which, to be honest, is still concerning because Cas is reckless as fuck. Thank God Dean is not.

Dean doesn’t roll the dice, he doesn’t endanger his powerfully devout friend, he doesn’t bet on the odds of having to scoop up Cas’ remains from the wall.

So cool, right? Do you think that Cas has learnt the value of life, the value of his own life and will be less reckless with it? Of course not!

By the end of the episode Cas still says (re Billie’s murder)that he doesn’t regret his actions even if they cost him his life. He also says, after all he’s been through with Lily Sunder, that he doesn’t know if he’s capable of killing an innocent baby or not.

SAM: But, Cas, at the end of the day, it's a mom and her kid. I mean, do you – do you think you'll be able to... CAS: There was a time when I wouldn't have hesitated. But now, I don't know.

I don’t know if the show ever answers this question. He does bring Kelly to the “sandbox” but then Dagon shows up and then Joshua gets killed and then Kelly takes his hand and then Jack shows him “the future”… And then, and then, and then. Stuff happened, life happened, you know? I mean, it’s complicated but this is what makes it more interesting!

#“powerfully devout woman” is such a great line.#who was this woman?#my bet is that she was a mystic #more generally. who are these people “giving everything” to angels?#there are so many interstices in SPN that would be sooo good for fanfiction #anyway. as a (former) student of mysticism I must add that not all women mystics fared as well as st. teresa of avila and others #the majority of them were treated as hysterics and as possessed by the devil. it's super interesting actually #but it wasn't “ jellybeans and g-strings. ” as Dean would say #there's some quest for power that a lot of people who seek out angels seem to share. the falling in love part (or not) is a consequence?#like lily sunder's powerlessness. mmmm. interesting.#supernatural #spn #castiel #dean winchester #spn meta #spn s12 #phd in spn s12 #lily sunder has some regrets #12x10 #spn 12x10 #spn lines #destiel #spn angels #super-m/Others

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saerins · 1 year ago

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Girl, you don’t have an idea of how much interesting i found the argument/ angst between Mirin & Sae(? idk only if u want, u think u could give us some “extra” (it can be just a single short post) about them? Like, I think Mirin was A LITTLE right to be mad bc he was practically the love of her life and let’s be honest 😭 it’s heartbreaking that ur first love that promised u everything now is in a arranged married AND ACTUALLY loves his wife😕 idk THEIR ANGST IT’S SO GOOOOODDDDDD😢😭😭😭😭

ok hi nonnie !! lemme preface this by saying i was gonna write a whole part of mirin’s pov but it will just be centred around the same scenes and i don’t think you guys want that haha so here’s some extras for you, some small parallels between sae/mirin and sae/yn :) + my own opinions on them mwahahaha

fun fact: sae fell for mirin first. imagine the rich cold guy awkwardly trying to get closer to her & eventually winning her over because she gets to see all the sides to him that nobody else can.

+ mirin was always cautious with relationships because well, her family’s own personal issues. & sae was always patient with her, always entertaining her little ‘tests’ - think something along the lines of: continuously pushing him away and expecting him to always come back (which is exactly why she acted that way abroad). <- this was obviously very tiring to sae but he always did it, but that was why her dating other people was considered a huge blow to him and honestly made him feel like giving up on her altogether.

would he and mirin have worked out if yn wasn’t in the picture? maybe. a hugeeeeee maybe. pros: if yn wasn’t there, then mirin wouldn’t have acted the way she did and sae would still think the world of her. cons: they had their own issues that weren’t so apparent only because sae is laser-focused on making it work with yn.

would he and mirin work it out IF yn and sae don’t work out? nope. HUGE nope. he finds out she slept with oliver? done deal bye bye <3

also, mirin and sae never made their relationship too public :) they were always sneaking around because mirin wanted it private. aside from their inner circles, to everyone else, the most that they were were rumours.

did sae mean what he said to her back then? absolutely. 100%. it’s the kind of love where he realised “shit what is this fucked up feeling and why am i willingly diving into it?” and she taught him a lot, tbh. a lot of which helped him personally when trying to communicate with yn.

anywho !! i feel that given the context of what happened between sae & mirin - how she insisted on the breakup, dated other people while abroad and both of them naturally drifted (because sae didn’t really have the heart in him to keep trying since it looked like mirin was kinda trying to move on, even if she said in the end after that that she couldn’t forget about him) - for me personally his only fault was not offering her closure when he knew her intentions. that night at the karaoke bar when she was there, he should’ve set things straight (not that it would change much but still 😭).

mirin had a right to be angry - she didn’t get any closure and it’s easy to spiral but she knew he was married. didn’t even bother to ask him why he agreed or nothing and just tried to win him back. in comparison, we have yn who wants to try to understand him, who goes along with what he says because despite now it being sae who’s trying to push her away, she’s still there. despite him knowing she’s a passive person and easily scared, she stands her ground and covers for him even when he’s being an ass. that’s a huge part of the reason why he so easily faltered - fron personal experience he knows it’s not easy.

when sae fell in love with mirin, it felt more of chasing after something seemingly unattainable. it was a new, first love that exposed him to any such feelings. but with yn it was subtle. it was him noticing little things and growing to love them. it was him realising the beauty in trying and understanding yn will be much more of a bigger person than he could ever be. his respect and admiration for his wife grew with each day and that is why ultimately in the end, from sae’s pov, he has to learn to catch up with her in order to be able to give her the kind of love and support she deserves.

#whew this was a bit longer than i planned for hahahaha but here you go !!#feel free to ask me anything else about any of the characters :)#i personally love this little world #mail : anon !

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petruchio · 9 months ago

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i was lowkey tumblr stalking asks you’ve answered before (i apologize i just love how in depth u answer) and now i wanna know your tierlist (A/B/C/D/F) for the songs on GUTS. include deluxe pls bc imo the deluxe tracks are better than many main album tracks hehe

well first off you can ALWAYS stalk me and never apologize for it, i love answering stuff and i love that people actually read it HAHA! so please <3 stalk away <3 i love it

i LOVE this question. i was going to make one of those images like the youtubers do for tier lists but then i realized i would have to explain myself anyway so im just going to give each song a letter grade and a little blurb about why i think this... so here goes 🤓

i actually have to put this under a cut because it got so long that i am not going to clog up people's dash with my long and way too detailed thoughts on GUTS but please read this if it is of interest bc i would love to continue discussing haha

so first i'm going to say to me overall guts is like a solid A-/A for a sophomore album. i don't think it's perfect but i think as far as showing growth from the first album, expanding on themes and sounds that were explored in sour, and just maturing while still feeling like a natural progression -- i think it does all of that really nicely while also managing to carve out a unique niche for olivia in the industry. so like. YES! great. (i have been saying that while i see olivia compared to taylor swift a lot, i think it's actually a much better comparison to compare her to avril lavigne in the early 2000s -- avril was originally "discovered" via performing with shania twain (which in some ways we could argue for being a taylor/olivia situation but in the 90s) and a lot of her early work and songwriting is influenced by the country music scene, but, just like olivia, her first album smashed onto the scene and captured the teenage zeitgeist in a really unique and special that was really of the moment it was released and dug into rock inspired hooks and sounds that resonated with the audience of young teens. if "driver's license" is olivia's "complicated," i think we can easily argue that "good 4 u" is her sk8r boi. (and deja vu is her i'm with you, the best single and best song in both of their discographies I SAID WHAT I SAID!) anyway all that is to say i think that GUTS and under my skin ALSO share a lot of parallels both in how they were marketed and the way they dive deeper into darker themes while expanding on a lot of what made the first album great, if perhaps not spawning the level of radio hits as the first album. anyway it's just something i think about that i don't see talked about all that much and i find it really interesting. i could keep going but i know that was an insane digression so let's get to the grades.)

all american bitch - B+ i think this song is a great opener and it has some really great lines in it -- the sarcasm makes it so fun and tongue in cheek and i actually like the scream, my reason for not being able to give it an A is just that i do feel like it's very much "putting on a persona" of being a rock punk chick, which is absolutely cool and is extremely well done, it just doesn't feel 100% authentic to me. like, i like the scream but it feels more like an acting performance than a genuine scream of anguish, but olivia is such an appealing actress that i'm like, yeah girl go off

bad idea right? - A+ this is the deja vu of the album for me. it is SUCH A GOOD SONG and it has the best video by far of any of the singles, it's so clever and creative and i actually really love her vocal delivery, it's bratty and obnoxious but for some reason it DOES feel authentic to me in a way AAB doesn't, i think it takes its influences and manages to reinterpret and transform them into something totally unique and personal to olivia and it's just GREAT. (i think a great example of how good this song is is honestly the kelly clarkson cover she did, it was a really fun cover but you could just tell that olivia's version works better, it's a song that feels like it could only be done by her and i love it for that.)

vampire - B i actually thought i'd rate this lower bc it is my least favorite song on the album but like, okay it's FINE. my issue with vampire is that 1) it feels like the label said "write another ballad that sounds like drivers license and we'll use that as the lead single" which i don't like, and 2) i've written before that my main issue with vampire is that it DOES NOT COMMIT to the genuinely cool metaphor that it attempts. i actually love the line "you only come out at night" because i think it's really clever and creative to extend the "sucking me dry" metaphor of a vampire. i think following that up with "i used to think i was smart but you made me look so naive" is such a let down and so cliche that it annoys me every time i hear the song. like, if the song instead was like "i should have known it was strange, you only come out at night/you said i tasted so sweet til nothing was left in my veins" or something i would think it was a great song. but instead we get that clunky cliche of a line and it irritates me. the song has potential but it just doesn't deliver.

lacy - A- (tw: ed) so i think that this song is about struggling with an ed and i think it is really amazing if you read it through that lens. i don't even really want to say that much more about it because when i saw someone say that on twitter and i listened to the song thinking about that, it hit me really hard and i think it's brilliantly done but it's intense. i think olivia said that it came out of a poem she wrote and i think that lacy is the personification of that really personal struggle and i think it's a beautiful and deeply sad metaphor and the song actually does it really well. i also really love her vocal delivery on the recording and i think it's beautifully produced, the layered vocals at the end are really gorgeous.

ballad of a homeschooled girl - A- honestly i have the same comments as i do about all american bitch except i just think this song is slightly better and feels a little more authentic. i think the lyrics on this one are really clever as well and i love the little production quirks like "how to flirt" and the outro is SO FUN and i love the sort of fourth wall break of "can't think of a third line" and the la la la that just kind of smashes into the end of the song, i think it works so well with the concept of the song so yeah. great.

making the bed - B+ this is a song where i'm like, there's nothing WRONG with it i just don't think it's particularly special, like it's a good song and it has some really great lyrics i just think it's a decent song that accomplishes exactly what it sets out to do. it's good. no real notes. my favorite lyric is "they tell me that they love me like i'm some tourist attraction" -- i love when the pop girls talk about the complexities of fame, and olivia seems strikingly self aware in a lot of her lyrics and that one is really a hard hitter. (it reminds me of billie's getting older song, "the things i once enjoyed just keep me employed now" and "another thing i ruined i used to do for fun" which are both lines that i feel like really do a nice job of exploring how it feels when your art and artistic expression becomes a job and a persona. i think billie and olivia are doing so much cool stuff and they both just seem like such cool and interesting girls. they just give the vibe that it would be so fun to get dinner with them and talk about their experience of teenage fame because they both seem to have some really interesting and complex insights about it.)

logical - B- tbh this song is kinda boring to me. it's fine but i just think it's a theme that is explored better in other songs. the one line i really like is "if rain don't pour and sun don't shine" because i like to imagine that it's a reference to taming of the shrew act iv scene v.

get him back! - A+ SO GOOD COME ON GET HIM BACK IS SO GOOD AHHHHHH i get mad thinking about the music video bc the iphone lens makes it so weird and i think this could've had an even better video without the iphone gimmick but holy cow this song is so good. it's so clever, it's so fun, it ROCKS. (though this is the point on the album where i start to get annoyed by all the production quirks, i think they are fun on a couple songs but we don't need the "is this the song with drums" thing, just play the song. there's only so much studio chatter that makes a song fun before it gets a little grating to listen to every time i want to play the song.) but this is a brilliant song. I WANNA MEET HIS MOM AND TELL HER HER SON SUCKS. has anyone ever more perfectly captured how it feels to be nineteen. ugh this song is so good.

love is embarrassing - A i actually really like this song and i think it's a really nice spiritual closer to sour. it does such a nice job of reflecting but in a funny, tongue-in-cheek, self aware way that i think is so appealing and cute. i love "you found a new version of me and i damn near started world war three" as a callback to "another actress i hate to think that i was just your type" and i LOOOVE the outro with "i'm planning out my wedding with some guy i'm never marrying" which i think is a fantastic line. i love the vocal delivery on the outro as well. (also this is an example for me of a song with no studio chatter or production gimmicks, and it's GOOD bc it's like, it doesn't need that! it's just a fun song! and i like it for that!!)

the grudge - A- honestly a beautiful song that captures a very specific feeling. i love the melody and the way she delivers "how could anybody do the things you did so easily?" the second verse is an absolute gut punch of what it feels like to come away from a toxic love. it has a couple clunkers (i'm not a fan of "trust that you betrayed, confusion that still lingers" which i think is just a bit awkward) but overall it's a lovely song and so raw.

pretty isn't pretty - A again just a really solid work. i love the guitar sound on it. and i think it does a really nice job of capturing another specific teenage emotion. one thing i love on GUTS is that it feels legitimately balanced between songs about heartbreak and songs about personal feelings and this song is one that i think does that second part very well. i really love the second prechorus line "it's in my phone it's in my head it's in the boys i bring to bed" and i think this song is really insightful and personal.

teenage dream - B my issue with this song is my same issue with hope ur ok which is that it just feels so aware of itself as AN ALBUM CLOSER and i find it a bit cloying. i think the theme is interesting and has potential but the song just annoys me because it feels kind of overdone. idk. i just don't love it. i get it and i get why it's there but i think there was a better way of closing the album in a more genuine way.

BONUS TRACKS RANKING LINK (i have to link a new post here since i hit the character limit on this post. geez lol)

#answered #anonymous #olivia rodrigo #long thoughts

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voidpacifist · 1 year ago

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god is an author

DISCLAIMER: this is not to preach at anyone what they should or should not believe! This is purely me divulging into my thoughts about the God I grew up learning about and how I've come to terms with their existence. If that intellectual exercise is totally your thing, please enjoy :)

I've been sitting on this one for some time now, simply because I don't know very many people who study their own theology and pick it to pieces for fun, nor do I know very many people who are interested in theology in the first place. In fact, many people I've met, while not turned off to the idea of an existing and all-encompassing higher Somebody or Something, don't seem to like discussing the topic at all. And as someone who has recently come to confront the fact that their christian values may not even be considered "christian enough" anymore, I have begun to understand the discomfort with the subject matter.

But that brings me to the crux of why I began thinking about "God analogies" in the first place. See, the less I wanted to discuss the semantics about God's existence, the more my brain pushed back with different ways of looking at their existence. Namely, the way we compare them to different human archetypes - God as a father, God as a mother, God as an artist, God as a holy physician, etc. I was having trouble finding one that really and truly encompassed all the facets of their existence while also mirroring pieces of our (human beings) existence. After all, I was taught that we were made in the image of God, so what analogy was best? What analogy would set my mind at ease?

And then, of course, when I discovered the joy found present only in creating, I came a little bit closer to the "right" analogy. For a while, it was easy to think of God as simply a creator, but even that felt too simple. It didn't answer my questions about the problem of evil being allowed to exist, nor did it set my mind at ease about other philosophical and moral quandaries I'd been having. Would I be cast into damnation for allowing myself to feel about women as I did about men? Would I still be a christian if I didn't think of God as a father but rather as a genderless (or all-gendered) being? Would I lose my faith if I allowed myself to question the structure of the religion I'd grown up in? No, calling them merely a creator still left too many gaps in the analogy - a mere creator with no further pretense didn't necessarily account for anything moral, only for creativity itself.

It was a start, because humans are naturally creative creatures, and if we truly are image bearers of a higher power, then that comparison makes sense. But at this point, I was obsessed with narrowing the parallels down to something much more specific to my particular paradigm. Lo and behold, it was right around the time that I arrived at this platform of exploration that I began thinking of them as an author.

Point one: God is an author because they exist outside of the timeline.

When speaking about time as a concept, the first thing that I personally think of is the scene from season three of BBC's Doctor Who where David Tennant's incarnation of the Doctor says, "When you look at it from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly wobbly...timey wimey...stuff." And in reference to our human experience, he's incorrect in that regard. We spectate the passage of time from cause to effect to cause to effect. Rinse and repeat. Time is cyclical and linear and a progression.

And, time is entirely out of bounds as well.

Think about it with the fact in mind that the closer to the planet earth that one is, the faster the "clock moves." This is a phenomenon known as time dilation. It's seen in all sorts of scifi films, most prominently depicted in Nolan's Interstellar - time progresses at a far slower rate for the main character, and by the time he makes the return to his family, his daughter is already experiencing the final moments of her life. Decades for her have only translated to maybe two years for him.

Furthermore, if we think about the universe being in constant outward expansion, we can only assume that outside of it, past the edge of matter, there is no time. This brings to mind the concept of eternity, as well as the conundrum of how eternity can simply be. In eternity, everything has already happened and nothing has happened. The same can be said in regards to what is and what will be. How it can be all or nothing all at once is something we are incapable of understanding, because it breaks the rules of our conditions of existence. But for a being such as God? For someone or something that is in charge of all the rules and regulations of everything in the material plane? It doesn't break any rules then, because God is not governed by the rules of our existence - they are exterior to us.

How does that tie back into authorship? I'm so glad you asked.

(And if you've made it this far, thank you for sticking with me through my extremely heady tangent on the rules of time as a concept.)

It ties back into authorship, because every author exists outside of their characters' timeline(s). If time is contained within a story, then eternity is merely outside of that, with the author. James Dashner is not constrained by the events or progressions of The Maze Runner series. J.R.R. Tolkien is not contained by the end or beginning of Middle Earth in Lord of the Rings. In the same way, God did not "begin" when the universe began, because they wrote the universe into existence. If they began with the universe, that would bring up the question, "Who made God?", which would unravel with the knowledge in mind of God being all-powerful.

Points two and three: the problem of evil and the issue of free will.

Firstly, evil. The problem of the existence of good and evil is one that has left many in quite a scramble about how to justify God's existence when abhorrent things are also allowed to occur. And I'm not here to say that I have the definite answer, or that any emotions about the matter are invalid. I simply think this explanation is one that works, so I'll explain it to the best of my ability.

But before I explain, I'll have theological debater Cliffe Knechtle offer some further insight to the age old question, "Why would a loving god allow so much suffering?"

His answer is quite long, so I've condensed it to his first two points for the sake of remaining concise: the extent of God's power, and the concept of free will.

"[But] as a follower of Christ, I have to think, first point: Genesis chapter one records that when God created this, God saw that it was good. When God created that, God saw that it was good. So God did not create evil, suffering, and death. But in Genesis chapter three, we read how human beings rebelled against God, and when we told God to step off, to get lost, to remove his act elsewhere, he partially honored our request. And when God stepped back, chaos, destruction, and death entered.

"So you and I were not born into a fair world. You and I are born into an unfair world. Not because God created it that way, but because the all powerful God chose to partially limit his power by creating me free. If I hall back and slap this man and turn to you and say, 'God made me do it,' I'm a con artist, I'm a liar. God gave me a hand for the purpose of loving and respecting this man. But because I have a free will, I can roll this hand into a fist and send it crashing into this handsome face. If I have the audacity to say God made me do it, I'm a liar. I have a free will. And you and I live in a world where there's a tremendous amount of suffering, evil, and death. That's a direct result of human irresponsibility. Remember - when we human beings rebel against God, God steps back and evil, chaos, suffering and death enter the experience of humankind.

"Now, why? Why did God choose to create us with free will? Ultimately, I do not know. 'Well, come on Cliffe, it would be better if we didn't have free will. We wouldn't have evil and all this suffering and death.' Yeah, we also wouldn't have love. Because in order for it to be real, love has to be free. If it ain't free, it ain't love. If he's been dating somebody for the past two months, and she has said to him, 'I love you,' and tonight his dad calls him up and says, 'Son, I've been paying her one thousand bucks a month to date you,' he'd be royally bummed out. Why? Because you cannot manipulate or force love. And God created us to live in a love relationship with himself. You cannot force love.

"'Oh, but God's all powerful, he can do anything he wants.' No, that's not what the Bible teaches. God cannot make square circles. God cannot make two plus two equal five. And God cannot make himself exist and not exist at the same time in the same way. Impossible. When the Bible says that God is all powerful, it's means he's all powerful over his creation. But obviously, what he's chosen to do is he's chosen to limit his power and give us free will. And that's why you love, and that's why you enjoy it so much when other people love you. Because you know they don't have to love you. You know that they freely choose to love you."

Let's digress and digest.

Oftentimes, when the topic of free will comes up, it turns into a conversation of two extremes - of God as a puppeteer or of God being entirely absent. In order to address the middle ground, we need to explore a new idea: what if our ideas had their own free will? More specifically, what if the people we derive from our imaginations (original characters, imaginary friends, etc.) had a free will of their own?

Fellow authors can attest to knowing a character they've constructed so well that at some point, it becomes less about planning what the character will do, and more about understanding what the character will do. With regards to God as an author, they know us so well that though we have free will, every action we take as people still remains within God's plan, or in this case, "the plot" of our story in this existence. God, existing as they do outside of time, is the constructor of the story we're in and thus, knows us well enough to have both left nothing up to chance and given us the freedom to choose. It is by their will, but it doesn't make us robotic or mere vessels to be filled by command after command.

Which then brings us to the involvement of God when it comes to evil. Personally, I believe Cliffe encompassed this point beautifully: whereas God has limited theirself to allow us our free will, they have also therefore allowed bad things to be present in our timelines. With the further knowledge in mind that nothing is left up to chance (though everything is still up to us as human beings), this also means that evil has a purpose. For whatever reason, whether it be for demonstration or illustration, evil adds depth to the story of our existence in a way we cannot understand. If we understood it, I rather do think we'd have a glimpse into the mind of God theirself.

Point four: God is an author because they know the end.

Now, when it comes to the end, such as where we go when we die or how the world will eventually burn or freeze or result in some other disaster, we have a lot of trouble talking about it. We stress about the little details of what it's like to cease existing. Is there a blinding light before walking through the pearly gates? Is there utter darkness and then nothing, much like falling asleep? Is there a way to even conceptualize it? Do we all get expedited into a lake of fire?

It's admittedly terrifying. And also one of those things that people either preach loudly and proudly about or clam up at the thought of it. In my humble opinion, if we're all just characters with no knowledge of what happens at the end of our story, then we have no reason to be telling others where they're going either. That's up to the author and the character. All I can hope for is that the end will be satisfying, in a way that fully encapsulates the essence of each player and arc.

It brings me to my last point, which isn't a point really, but moreso a question regarding the existence of Jesus: is it God inserting theirself into our story, or have we simply been part of their story the whole time, with Jesus as our glimpse at the one who wrote us into being?

Personally, I think it's both. Because if we are the image of God, as well as created by them, then our story is both perfectly ours and perfectly God's.

#theology #philosophy #essay #theological essay #christianity #religious deconstruction #the analogies we come up with for encapsulating who and what god is

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2maegor2cruel · 2 years ago

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glad you liked my tags. like i said previously, i think your original reply to wexpyke was a little more unkind than was necessary. i've followed wexpyke for a while and know that they're a nice person who meant well. i'm also not trying to get into an argument with you, i just think we have two unique and somewhat conflicting interpretations of a particular character's actions.

yes, theon captured winterfell. no, he didn’t sack it. yes, people can die or be otherwise seriously harmed when a castle is captured. this is well-established in the world of asoiaf. the important thing to note about theon's taking of winterfell is that it is entirely within the "rules of the game", and not even especially brutal compared to how those like tywin or roose operate in the riverlands. that isn't excusing theon's actions, which were terrible, it's just putting them in the context of westeros.

i was just about to make a separate post because i find this topic really compelling, but part of what i like about theon as a character is how he holds a mirror up to the starks. for instance, in ACOK we hear about several castles that robb and the northern cause have stormed and captured, including ashemark and the crag.

the crag is probably the best direct comparison to winterfell, as it is similarly poorly garrisoned, and it is in part taken by scaling parties going up over the walls. grey wind mauls a man to death during the fight, and it can be assumed that many more loyal men to the westerlings died. but we never see these deaths, and we're safe in the assumption that the starks are "the good guys", so of course they'd never hurt people the way theon does. theon is just a villainous outlier, right?

except as we learn in arya's ACOK/ASOS chapters, the northern army is just as brutal as the westerlands army. stark men rape, murder, and steal just as lannister men do. the smallfolk hate and fear both of them, regardless of whether one side's cause is right or just or "honorable".

another interesting comparison can be seen in chapters 37-39 of ACOK. in chapter 37, theon III, theon is raiding the stony shore with the ironborn. he doesn't really partake in the rape and murder, but he also doesn't care about those that are raped/murdered. it's a few short lines, but it's pretty heinous.

then, in chapter 39, catelyn V, in ACOK:

the northern army isn't just raiding, it's raiding along the coast. it's a pretty direct parallel in my eyes. this northern raiding only gets a mention, and like the taking of the crag, we never have to see the brutality of it. catelyn cares nothing for the westerland smallfolk's suffering, but that callousness on her part isn't interpreted as villainous. it's war, and that's how war is.

it should also be noted that these two chapters are only separated by an arya chapter, and so much of arya's ACOK and ASOS chapters are concerned with the actual toll of war. i think this theon-arya-catelyn structure was very deliberate in joining these themes of power vs. powerlessness, "what needs to be done" vs. villainy/brutality, and "good" vs. "bad" guys.

so yeah. sorry to derail a fun post. i just think sometimes people assume that theon was uniquely terrible, when the books are constantly hitting us over the head with how untrue that is. it's meant to show us that even "righteous" war is still war, and war will always be brutal and evil and hurt those without power the most.

scariest guy you have ever seen in your life who smells like a week old latrine: you need men afield. i could be your man.

theon greyjoy for some reason who has his whole entire own army of people who just successfully sacked winterfell and also are not going to lock him in an underground bunker and cut pieces off of him for a year: we really are short on manpower and i think a fine man like you could make all the difference

#long post #just got a lot of thoughts rattling around in the ol' braincase #summary: war = bad #the whole point is how easy and mundane evil is. and how hard it is to fight.#how hard it is to choose goodness and kindness #but good is still worth fighting for. brienne affc chapters my beloved <3

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beccanoodles · 4 years ago

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Spike and Faye Pairing Analysis

March 2021

Ah the hit or miss pairing of the century! If you don’t love it, you probably hate it lol. I’m a very analytical person so I love analyzing works of art and overall enjoy deep discussions about them too. I have SO much to say when it comes to Cowboy Bebop (and oh I plan to), but I have decided to start with my very own OTP. Here, I am not really going to discuss Spike and Faye’s feelings for each other, but rather why I think people are drawn to this pairing and why I think they're totally valid. Get ready for a long read!😁

⚠️SPOILER WARNING!!! [Major Cowboy Bebop and the movie Out of the Past spoilers]⚠️

First off, let’s clear something up. I am confident most of us can agree that Spike was in love with Julia. Some people assume Spike and Faye fans are deranged and disregard Spike and Julia’s romantic relationship to try and make something of Spike and Faye that never was. While some people may have their various theories and opinions on this, generally, I don’t think anyone denies Spike’s love for Julia. As we will see, this pairing is not really driven by who loves who...let’s first look on the surface.

I don’t know your experiences with the series, but in mine, every time I show this to people it never fails for someone to say something along the lines of,

“Wait, they don’t end up together?”

“Why didn’t he kiss her!?”

“He should have stayed with her...”

and so fourth.

Naturally, this pairing catches many eyes.

Think about it, you are given two really cool, really hot and really deep characters that are really fun to see together! There are so many parallels between the two and they are arguably the strongest characters of the bunch. Granted, you can agree with this and still not ship them, but these aspects are part of what opens up the door for many fans of the pairing.

However, there is certainly more to this pairing than them simply looking good together right? As the years pass and I’ve now seen the show multiple times, my understanding of it has evolved in many areas, Spike and Faye included.

Spike and Faye really couldn’t have ended up together. Sure, it’s a nice thought, but It would have been an entirely different show if they had. I don’t feel that the show should have happened any other way and I don’t think many other fans would either.

So, what am I saying here?

What’s the point of this paring if I don’t think they should have ended up together?

It is what's so frustrating about them, yet keeps you coming back and what honestly validates this pairing in my opinion. Spike and Faye are not driven by what is, but rather, what could be.

I personally feel the themes of classic film Noir are not discussed enough when it comes to Cowboy Bebop! This is one of the show's major influences, especially when it comes to the plot and characters.

One of the common tropes of a film noir is that of a protagonist who is drawn back into his past and ultimate doom, usually by the “seduction” of a femme fatale. In these movies, the women are either a femme fatale [devious, dangerous, mysterious, greedy, troubled, or unreliable] or a woman of virtue [reliable, dutiful, trustworthy, conventional and loving].

I am going to use the 1947 classic, Out of the Past to make my comparisons from here on out.

In Out of the Past, Jeff is a former detective who gets caught up in a love triangle between a gangster and his girlfriend Kathie, sound familiar? He attempts to run away with her, but is betrayed and runs off to start a new life in a new town. Here, he meets Ann and falls in love with her, but of course, his past catches up to him and he is drawn back into the world of criminals (largely by Kathie’s involvement). This ultimately results in his and Kathie’s deaths and Ann’s heartbreak.

Even though Kathie is the femme fatale in this movie, I found myself comparing her more to Julia’s role in the show, than to Faye’s and I found that Faye actually fit best in Ann’s role (this is a bit unusual considering Faye is typically seen as the femme fatale of this show).

Does that mean I think Julia was as ill intentioned as Kathie or that Spike fell in love with Faye? Well, not exactly, let’s look at it a bit further.

“The kind of beautiful, dangerous ordinary that you just can’t leave alone...Like an angel from the underworld or a devil from paradise.”

Most of what we get about Julia is from Spike’s point of view. From this, we learn she is at the center of Vicious and Spike’s conflict, but aside from that she is basically depicted as “The Virtuous Woman” of a noir. The colors around her are warm and she is shown caring for Spike. There is an innocence and modestly about her as well.

Yet, when we finally do meet Julia, we get a different image. We know she is tied up with dangerous men, but is she herself a dangerous woman?

She is certainly capable of betrayal.

Suddenly she is a bad-ass-gun-toting woman in leather and black, surrounded by hues of grey and dark blue. Intentional or not, Julia is a major part of what lures Spike back into the past and ultimately to his death. In this case, Julia is the femme fatale of Spike’s story and thus, their relationship is doomed from the start.

Faye, on the other hand, is portrayed in somewhat of a contrast. When we first meet her, she is the clear cut femme fatale, appearing cunning, strong willed and seductive. However, we soon find that she has quite a bit of kindness and naivety hidden behind her facade. She uses the former tactics as a way of emotional (and probably physical) protection. Gren points this out in his conversation with her.

Gren,

“You’re just afraid they’d abandon you so you abandoned them. You distanced yourself from the whole thing.”

As the show progresses, we start to see less of her “femme fatale nature” and something more genuine. Think about it, between Hard Luck Woman and RFB Part 2 we don’t see much of Faye as her typical conniving or unreliable self, aside from changing the course of the Bebop maybe. Sure she takes off, but it isn’t at all for the same reasons she did in Jupiter Jazz or Speak Like a Child, for example.

I would argue we actually see her more trustworthy and caring than ever. Since I don’t want to spend too much time talking about Faye’s character development (not here at least) I’ll give one example of this.

When she returns to the Bebop after her encounter with Julia in RFB Part 1, she gives Spike the message, even though the outcome might hurt her (i.e. he leaves and/or dies). While she does first say “It’s gonna cost you,” she doesn’t really mean it because she tells him without hesitation only moments later.

This isn’t to say Faye good, Julia bad. Both women have their layers and even though we know way more about Faye, I don’t get the impression that Julia is selfish and cunning like Kathie was. But I do get the feeling she was enclosed in a world of crime and betrayal the way Kathie was. We really only know the basics of Spike and Julia’s situation. Who knows the details like motive or how long it lasted etc. etc. We can only speculate...

There is a scene towards the end of Out Of The Past, where Kathie tells Jeff to go away with her. This time it is her asking him, just like Julia asks Spike. During this she mentions,

“I never told you I was anything but what I am, you just wanted to imagine I was. That’s why I left you.”

This got me thinking...did Spike imagine Julia as something she wasn’t? Or something he wanted her to be that she just couldn’t be?

It could explain why we get such contrasted images of her.

There are themes of this “dreamlike” relationship between Jeff and Kathie, similar to Spike and Julia’s “It was all a dream.”

The two of them were going to “live and be free,” probably something neither of them knew how to do and most likely wouldn’t have been able to get away with.

When Jet asks Spike if he can just forget the past, this is his answer.

Spike,

“There was a woman. For the first time in my life I saw a woman that was truly alive. At least that’s what I thought. She was the part of me I had lost, that part that was missing, that I had been longing for.”

I always wondered about this, because Spike is clearly talking about Julia, but right after is when Faye shows up. To me, that spoke volumes...

Faye is a woman who is terribly human and terribly alive.

Going back to Faye and Ann, I find their similarities shine not so much in the “Virtuous Woman,” concept, but rather in Ann’s dedication to Jeff and her optimism for the future. She is also the last person to talk to Jeff before he leaves for the final time, as if he were being presented with one last alternative. Spike spends his last moments with Faye as well, in which she basically begs him not to go and keep him in the present that she has now discovered for herself. She may be stuck, but she is definitely someone that yearns for human connection, love, and life.

The problem is, Spike and Faye are both set in opposite directions. Her’s leads to a future and Spike knows this because he points it out early on (My Funny Valentine). He also knows, his most likely does not. He has already dug himself too deep into this hole, if you will, that there is really no turning back.

But let’s say none of that was an issue? What could be?

I sat and watched this movie (Out of the Past) with my mom. She didn’t know anything about it and didn’t know why I was watching it. I wanted her genuine reaction. The whole time she was getting mad at Jeff until the very end. I asked her why and she said that she wanted him to be able to live happily with Ann. I explained to her why he had to do what he did. She understood this, but still couldn’t help but be sad at how things turned out for him, when they could have been good.

Even though Kathie and Jeff are the “lovers,” of this movie, you don’t really want them to end up together. Forget that Kathie has a devious nature, regardless, you know where it has to end and you don’t want to see your hero die.

Like Kathie, Julia symbolizes Spike’s inevitable doom and Like Ann, Faye symbolizes his possible future.

“I’ll be with you till the end”

“You’re the one still tied to the past Spike!”

“Why do you have to go? Where are you going? What are you gonna do, just throw your life away like it was nothing?!”

It’s two sides of a sad coin...

We want Spike to have a future and because we love the characters of the show, it would be really great if he could have it with them, but that is where the tragedy is. It's only an idea we can think about, a possibility presented to us as it was to Jeff and Spike before their deaths.

The bottom line is, when it comes to Spike and Faye you are really only given a taste. You are not given what you expect to see, which is why I say this ship is driven by what could be. As it is with most of the character relationships in the show, no major breakthroughs are made until the very end, when it's too late. Then it just feels like such wasted potential, but sometimes in life, that's how it is. And thus, we have been given a very classic noir here ladies and gentlemen!

So no, I don’t think people miss the mark when they ship Spike and Faye, nor do I find they invalidate the show by any means. I kind of like that Watanabe switched it up and didn’t do the expected, but left us those subtle hints. He didn’t outright give Spike another lover, but he gave us someone that represents what he could have. Kind of does that with the crew as a whole too!

UGH. I love-hate this show and I love this pairing! Thank you for reading my thoughts and I know this may not be the case or reasoning for everyone, but just based on what I have seen around the community and where this show draws inspiration, this is what I have concluded. I didn’t get into Spike and Faye’s feelings for each other because it gets a little more theoretical there, but I would like to do a post on my thoughts on that as well sometime. I also didn’t touch too much on Spike’s reasoning for choosing to face Vicious in the end, just because I know that will only lead into a whole other analysis lol. But you know I have my thoughts on that and certainly plan to share them 😎 Also, I know I basically spoiled it, but Out of the Past is such a great movie!! I think if you’re a fan of this show it's definitely worth a watch! There are so many more parallels to Cowboy Bebop that I didn’t even mention. Anyways, thanks again and talk to you soon!

#Cowboy Bebop #Spike and Faye #spike x faye #analysis #cowboy bebop analysis #pairing analysis #pairing #my ship #out of the past #film noir #did i mention #I LOVE THIS SHOW #YES i've been working on this for two weeks like i was writing a midterm essay for school #DON'T JUDGE ME 🤓😂#OOTP is really good watch it #last scene gives me chills😨#spaye #faye x spike #faye and spike

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fishyfod · 4 years ago

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Winter & Yang Parallels and Contrasts

A comparison of Winter Schnee and Yang Xiao Long, and how they are shaped by their society and circumstances.

Or a thinly veiled excuse to gush about two characters I like

[gif by 5by5brittana]

This is split into four parts:

Pre Volume 1 backstory and characteristics

Relationship with younger siblings

Parallel Journeys between V1-5 and V7-8

Rough Speculation for Volume 8

Spoilers for RWBY V8 E1-7. Under the cut because this turned out very long.

Also, take this with a grain of salt? I wrote this for fun. This really is just, me going off the deep end.

I. Childhood and Upbringing

Winter and Yang are both the eldest children of their respective families, and have spent most of their lives growing up in the shadows of their legacies: the Schnee name and the fallout of team STRQ. These legacies are tragedies, and for better and for worse Winter and Yang are in the unique position where they also know the before, the brief time their families were whole (at least on paper). As their families broke apart, Winter and Yang have felt the need to fill the parent role for their younger siblings (more on that later).

This is the curse of the parent-sibling*, in which the lines between adulthood, childhood and parenthood are all blurred together when one is still a child. Winter grew up as Willow and Jacques’s facade of a marriage slowly fell apart and Willow turned to alcohol, leaving Weiss and Whitley under the care of Jacques - a manipulative abuser - and someone had to step up between him and Weiss and Whitley. Klein, it should be noted, was the exception to the rule, as most staff reported to Jacques. Yang never had Raven, she lost Summer and for a while Taiyang after he shut down - someone had to take care of Ruby. Qrow just couldn’t be a full-time replacement to any of them

* [I believe the professional term is “parentification”.]

[RWBY Official Manga Anthology Vol. 4: I Burn]

This is Winter and Yang’s own personal tragedy, and as inspiring as it might seem from the outside - a mature, responsible child that helps parent their younger sibling - it is not at all healthy for the child in question. It does not matter if things might’ve improved later, the damage has already been done. Parent-siblings tend to become caretakers as well, and this manifests in both Yang and Winter, albeit in very different ways.

Which leads me to the next point, which is to emphasize the differences in both of these scenarios. The expectations from the Schnee name are very much a product of high-class society and Atlas superiority, which is very different from STRQ’s private falling out. Winter is roughly 7 and 10 years older than Weiss and Whitley, so she’s about 12 when Weiss (5 at the time) would become more aware of Jacques’s behavior, 17 when Willow began drinking. Yang was about 6 when Summer disappeared and the trek to the woods happened, and it is unknown for how long Taiyang shut down. Willow became seriously depressed just before Winter left for Atlas, whereas Taiyang eventually got back on his feet. Winter was abused by Jacques, Yang was abandoned by Raven.

Winter’s speech often involves doublespeak with hidden meanings, a strict deference to decorum, and a fair share of veiled (or unveiled) insults. She is closed off, and rarely engages in open physical contact. In private with her siblings or close friends, she tends to be softer, and may hug or pat on one’s shoulders. She has learnt this behavior in order to navigate Atlas society and quell her father whilst protecting herself and her siblings. Unfortunately, Klein appears to be the only staff to put the children’s needs before his servitude to Jacques, so even Winter’s interactions with Weiss and Whitley are soured by this prim, and at times, hurtful behavior; even then appearances must be kept. This is why Winter doesn’t act like a typical “Mom friend”, and why her need to take care of others manifests differently: in her conscience and willpower to protect others. Hence, she trains to become a huntress, the personification of protection, a way to help despite her difficulties expressing that need more conventionally.

Yang is open and outgoing, an easy conversationalist and very physically affectionate with her peers. She is upbeat, and also tactful at the same time. Why? Some of it has to do with her severe abandonment issues, making her more prone to bask in her connections to others. Equally important are the experience and circumstances she had growing up. She grew up in Patch, a relatively small community that is at best middle class. She had Ruby - only two years younger - to entertain and to teach, and in such a small household that also means many chores and mundane responsibilities to take on. By all accounts, Taiyang made enough of a recovery from his depression to parent well enough, and seems a fairly affectionate person himself. With all this encouragement and learnt skills, little hinders Yang from caring for Ruby and others openly and proudly. Ergo, Yang acts like a “Mom friend”.

These are Winter and Yang’s main personas, one uncaring and one unreserved. It is only natural that away from prying eyes or when put on the edge, they drop the facade and act contrary to it. For example, when Winter is angry or provoked, she lashes out and loses her composure. Usually, when Yang is angry she acts quite cold and restrained in her anger, and tries to project an unaffected persona. Alone with those she loves, Winter is more open and talkative, where Yang allows herself to be melancholic.

Yang may be open and candid, and could even be described as wearing her heart on her sleeve, but she is extremely reticent when admitting weakness or sharing her own personal grievances. Which is incredibly like Winter, though she is also taciturn in general. They have a tendency to avoid creating truly personal connections with others. They’re both used to putting on mask of strength and reassurance, and are quite adept at controlling their emotions (to a point). This is a defensive mechanism - they emulate the adults in their lives (who know the values of keeping up appearances) since they do not believe they will be taken seriously otherwise. They have internalized that no one will act on their behalf unless they offer something in return. By acting quasi-maternally to their younger siblings, they continue this act because it’s how they think a responsible adult should raise children.

[RWBY Official Manga Anthology Vol. 2: Mirror, Mirror]

The “practice” in home on their sisters developed in them the belief they should put others before themselves, even outside their family. Selfless as it may be, without moderation this behavior could be quite unhealthy. The lack of concern to themselves makes them feel lost and without purpose, with low self esteem and self-destructive tendencies.

Winter gives up the luxury of the Schnee inheritance for servitude in the army, a perfect place for someone who believes herself expendable. She says her personal feelings don’t matter, and is willing to throw down her life for others. Sounds familiar? Yang wants to become a huntress, which conveniently allows her to help others while drifting along life with no true purpose. She has very low self esteem initially, and her semblance literally benefits her taking hits for everyone else.

Intertwined with this, is a desire to find purpose, and to find value in oneself. They seek independence and a sense of control. For Winter, this meant training in the Atlas Academy and abdicating the title of Schnee Heiress. She remembers well when she could no longer rely on her father’s allowance. For Yang, it’s having a bike of her own and going out at night. She becomes protective of her appearance and long hair.

It’s worth noting that particularly a physical aspect of this independence - fighting - was something taught to them by the neglectful parents. Taiyang taught Yang to fight hand-to-hand before Beacon, and the hereditary nature of the Schnee semblance means Willow was most likely Winter’s first mentor.

Part of this behavior is also a need to escape the situation at home. With Winter that goes without saying - Jacques is abusive. Yang wants to leave the home she held together when she was a child; note her desire to travel the world, and her attempts to distance herself from Ruby so she won’t have to be relied upon even at Beacon.

In a sense, they’re both searching for the same thing - a parent to replace the ones who failed them. Ironwood and Raven both offer to be their replacement parent, at the cost of asking the children to leave with them to a new home, the one they’re leading and ruling. This doesn’t fix their family problem, and personally I believe neither Winter nor Yang full-heartily saw it as a solution, but they were both desperate enough to find anyone - anyone at all - that would take a weight off their shoulders and put them first. Yang searches for Raven, hoping she’ll find in her a mother despite everything. Fortunately for her, Qrow saved her from running after Raven prematurely. Unfortunately for Winter, James’s close friendship with Jacques meant he has known her from a young age, had observed how Jacques manipulates her and her family, and eventually offered himself as a savior from her situation at home. He had subtly groomed her into thinking the military - and more importantly, himself - was her only option to escape Jacques.

Despite this major difference, some similarities between Yang and Raven’s relationship and Winter and Ironwood’s relationship persist: the bandit lifestyle Raven offers Yang is militant and violent, similar to Ironwood’s army. Yang’s learnt conditional trust in authority would fit quite well with a bandit hierarchy built on perceived strength. Winter’s authoritarian outlook lends itself quite well to rise up in the ranks of the military.

Lastly, I’d like to point out the “inherited” philosophies of their respective replacement parents:

Raven’s philosophy: The weak die, so the strong survive on their own.

Yang’s philosophy: If I am not strong, I am weak and will be alone.

Ironwood’s philosophy: Every sacrifice is worth the cause.

Winter’s philosophy: I am not worth anything, so I can be sacrificed.

They’re all destructive mindsets, but the children inverted the implied destruction caused to others into their own self-destruction, in concordance with their shared need to put others before themselves. Part of the children’s progression will be to rise above these philosophies.

II. Yang & Ruby vs. Winter & Weiss

In the previous section I explained why Winter and Yang both act quasi-maternal and how it affected their growth and character. Now let’s examine their primary familial relationship, with their younger sisters Weiss and Ruby.

The simple truth is that much of what I said about Winter and Yang’s childhood is equally true for Weiss and Ruby, which could be explained quite easily - there’s only so much a child can do to replace adults. The important distinction is that for Weiss and Ruby someone did put them above everyone else, and that’s Winter and Yang. Consciously or by instinct, the elder sisters wanted to provide the younger sisters the safety they felt robbed off, and to give them the opportunity to grow and live as children like they couldn’t. In turn, the younger siblings put them on a pedestal and idolized them.

It is heavily implied Winter acted as a buffer between Jacques and Weiss, and was her confidant. Note how fluently they communicate their true thoughts to each other by hiding them in sneers and insults, yet drop all pretense in private and speak clearly what’s on their mind then. Winter worries about Weiss’s health and well-being, and isn’t interested in her studies and ranking; this is a deliberate choice to belie what Jacques instilled in Weiss, to put her happiness before her image. Winter mentored Weiss’s semblance training and is her harshest critic. She was Weiss’s main motivator to rebel against Jacques, and advised her to cut ties with the Schnee name like herself; she warns her of the futility in trying to reason with their father on his own terms. Winter encouraged Weiss to follow in her footsteps as a huntress, and also in her decision to figure herself out independently.

Yang, in her own words, was the one to hold everything together following Summer’s disappearance. She protected Ruby from feeling loveless and alone as she herself felt, by putting herself there where Taiyang couldn’t be. She gave her attention, she read to her and hugged her. She played with her and entertained her, and went along with every joke and scheme Ruby wanted to make. She enables Ruby to let loose and have fun, to take pride in her accomplishments and to stand up for herself. It’s important for Yang to show her support and pride in Ruby as frequently as she does, most likely to compensate the times Tai couldn’t. Among her family, Ruby goes to Yang when she is worried and afraid. Yang truly was Ruby’s best friend growing up.

Note how both Winter and Yang instilled values in Weiss and Ruby that are better than their own, and encouraged them to be better than themselves. They want them to actively search for happiness, although they themselves seem incapable of following the same advise - Winter went to a thankless job with little reward, Yang is afraid of forming friendships that are not just surface deep. The younger, prodigal sisters are assertive and have set themselves clear goals and ambitions in contrast to their elder sisters, who both prefer to follow and dedicate themselves to others.

[gif by deshieart]

The idyllic picture I described here is not complete. Winter and Yang may have significantly improved Weiss and Ruby’s childhood, but in their limited power as children - or perhaps their simple human limitations - there are blind spots in their relationships. There are issues the younger sisters have separate from the ones the elders tried to shield them from.

Winter still grew up in Atlas and under Jacques, and she is not immune from the dangerous influence of both. Early on, Weiss seemed to believe in similar ideas, and part of that behavior is due to Winter’s influence. Although Winter’s escape from home is understandable, it must’ve left some Weiss bitter being left behind. Winter forwent the Schnee name, where Weiss wants to change it for the better, and part of me can’t help but think Weiss’s conviction was affected by Winter leaving home.

As she grew up, Yang had two main caretakers - Taiyang and Qrow - who both experience difficulties addressing and sharing their problems openly. Yang, in turn, learnt not to share her own issues and put on a reassuring facade. She compartmentalizes, keeping her issues separate from what she shared with Ruby. But children are more perceptive than we might think, and Ruby must have picked up on Yang’s behavior and took it in. Ruby has her own version of keeping to herself - she ignores her problems and represses, avoiding the issue altogether with seemingly no healthy outlet. [x]

The narrative of the show tends to juxtapose these relationships against each other, cutting from one to the other and comparing them side by side, parallel or anti-parallel. The most obvious contrast is in their warmth: in Volume 3, Winter and Weiss are polite and reserved even privately, having lunch at an outdoor cafe. Yang and Ruby are loud and brash, playing video games and ribbing each other with their uncle. Winter pushes Weiss to confront Jacques directly, Yang seems content to support Ruby’s initiative by following her.

In volumes 4 and 5, the narrative matches the sisters in opposites: it is Yang and Weiss that are bound home and want to leave, and Winter and Ruby fighting in Mistral. Yang and Weiss overcome their personal struggles, and view their sister as their salvation, but end up finding each other first by chance (incidentally, Yang “returns” to Raven at the same time Winter returns to Atlas back to Ironwood). Meanwhile, Winter and Ruby become aware of Salem and the larger war at play.

When they are united with their sisters, this trend continues as Yang initiates the hug with Ruby and stops her nervous blabbering, and Weiss hugs Winter to stop her alarmed frenzy. Yang and Weiss reassure Ruby and Winter of their well-being.

[gif by sirianhewigxiii]

Come Volume 7, Winter returns as a full-time character and we see how after their respective reunions, the sisters return to their preestablished roles. Winter and Yang support Weiss and Ruby in their decisions and actions, listening to their younger sisters as they did before. Now, however, the sisters are on a more even footing: Weiss is now free of Jacques like Winter, Yang acts more assertive like Ruby. As a result, the relationship is less one-sided. For example, though Winter is not as doubtful of Ironwood as Weiss, she listens to her input and divulges a secret to her, showing that despite having differing opinions they begin to see each other as equals. Yang goes along with Ruby’s plan to hide Salem’s immortality from Ironwood (and even takes it a step further when she reveals Amity to Robyn), but she’s not afraid to tell her she doesn’t feel comfortable with that decision. It’s a step up from what they had before.

In the finale of Volume 7 and the premiere of Volume 8, the bonds between sisters are challenged, and they separate from each other. Winter chooses her loyalty to Ironwood over her trust in Weiss, Yang chooses her conscience over her innate trust in Ruby. Mind, these situations are not completely the same: the split between Ruby and Yang is pragmatic and they still view themselves as united, the split between Weiss and Winter is ideological and they are on different sides of the conflict.

I’ll leave my speculation what will happen to the sisters in the latter half of Volume 8 for the last section.

II.V - Winter & Whitley

A brief aside about Whitley, would be to ask if what I said about Winter’s relationship with Weiss could also apply to Whitley. The answer is of course no, Whitley and Winter clearly have an entirely different relationship here. Frankly, pinpointing its exact nature more precisely is difficult, since the center of the Schnee narrative is Weiss and we have little interactions between the Schnees that don’t involve her. I cannot offer you a definite reason as to why the difference exists, but I have a few guesses.

I’ll assume what we see of Weiss and Whitley in volumes 4 and 7 is similar to what Winter and Whitley had, and take into account Weiss’s statement that Whitley never really liked Winter (or her). As Willow pointed out to Weiss, Whitley was left alone with Jacques, and began imitating him and emulating his hurtful behavior. Jacques took him under his wing, when Willow was at her worst, Winter away, and Weiss in the process of leaving. Deep down he understands he was being abused by Jacques, but with the cards stacked against him his damaging attitude becomes clearer - and particularly, the likely reasons he resents Winter and Weiss for.

[gif by chittychittyyangyang]

So how come Weiss and Whitley turned out so different, and how does Winter factor into this? For starters, I’ll point out again that Winter’s influence on the Schnee household is very limited, and that humans tend to make mistakes. For her to gloss over Whitley, or to presumably ignore him, could be due to several reasons. Perhaps connecting with someone 10 years your junior was just too difficult. Maybe Jacques intervened more often with Whitley, seeing as he was younger and impressionable.

It’s difficult to tell what exactly happened here between Whitley and Winter, and I don’t think specifying here is helpful. I’ll sum up by saying that however their relationship turned sour, I lean towards the reason being human error rather than malicious intent. Family situations tend to be complicated.

III. Yang & Blake vs. Winter & Penny

Here I want to talk about more subtle parallels between Yang’s journey throughout volumes 1-5 and Winter’s journey in volumes 7-8.5. The major comparison here would be between Yang and Blake’s relationship, and Winter and Penny’s relationship.

Before I begin, I’d like to stress that although Bumbleby is clearly romantic in nature, here I’m more interested in their development separate from the romantic aspects of it. As such, it’s not my intention here to argue in favor of romantic Winter/Penny, though I have nothing against it. I view it more as a platonic relationship with some familial undertones.

I explained in the first section how Yang and Winter keep people at arm’s length, so it’s natural to wonder about the exceptions to that rule, their relationships with Blake and Penny respectively. When they meet their new partners, Yang and Winter seem mostly set in their ways, with no real tangible goal beyond wanting to help others where they can. To them, Blake and Penny are a breath of fresh air, determined and purposeful, and they’re challenged by their perspective.

To me at least, how Yang and Blake interact during Beacon is quite similar to what we see of Winter and Penny’s relationship in volume 7. It starts off as a working relationship, but the continuous presence around each other has lead it into easy affection. It’s a give-and-take of differing personalities finding common ground, though here the more apt analogy would be Yang/Penny and Winter/Blake. They begin feeling safe with one another, opening up and sharing intimate details about themselves, and the other’s opinion and well-being matter to them. They even work well together as fighting partners.

[gif by chittychittyyangyang]

Yang tells Blake about Raven and her complicated family life, partially in an attempt to stop Blake from overworking herself. After Winter’s outburst at Jacques, she shares with Penny her vulnerability regarding her family, and tells her she can’t let her emotions take control of her. Neither Blake nor Penny accept their lessons at face value, and question those beliefs. Was Blake’s determination really like Yang’s quest to find Raven? Are Winter’s emotions truly a hindrance and Penny should follow suit? Still, their disagreements don’t stop them from caring about each other, as we see when Yang hugs Blake and Winter holds Penny’s hands.

Blake is a faunus rights activist who fights for what she believes in, and Yang admires her for it, and is also subtly inspired by her. Penny is dedicated to her role as the Protector of Mantle, and Winter is endeared by her devotion to the cause. In both cases however, this beautiful aspiration is soured by Adam and Ironwood, who use Blake and Penny’s noble efforts for their own gain.

Next both relationships experience a “falling out”. Yang fights to save Blake from Adam at the end of Volume 3, and sacrifices her right arm trying to protect Blake. At the end of Volume 7, Winter and Penny fight Cinder, and Winter sacrifices her body (and purpose as a Winter Maiden) for Penny. We have Yang and Winter, defeated and critically injured, left behind by Blake and Penny, both running away from their controlling abusers Adam and Ironwood.

There’s an interesting tidbit here about their natures as characters, as both “falling outs” hammer on a shared flaw between the couples. Yang and Blake are both afraid of putting their trust in someone else, one is afraid of being deemed unsatisfactory and the other afraid of hurting by association. Winter and Penny are both self-sacrificial, the former thinks her opinion and thoughts are worthless, the latter wishes to put all the weight of the world on her shoulders. The finales and aftermaths of volumes 3 and 7 are a cruel display of these flaws.

Yang and Winter are both injured enough to require a replacement for parts of their bodies, a robotic arm and an exoskeleton. The supplier of both limbs is Ironwood, who projects himself onto both women, “rewarding” them for selfless acts of heroic sacrifice like he sees himself. He saw Yang’s fight the the tournament, criticized her harshly for it, then heard about her noble sacrifice and told her he wishes she’d return fighting soon. He groomed Winter to be his second, scolds her when she disobeys him, and after her injury emphasizes her importance to him. It seems to me that Ironwood attempted to make Yang indebted to himself like he managed with Winter before.

The process of recovery for both women is difficult, and in Winter’s case rushed. On a purely physical level it could be argued they have recovered from their injuries, as both eventually return to the field after their recovery. If we consider their emotional state, things become trickier; though Yang was at first offered a fairly lengthy recovery period on her own terms, in Volume 4 her main motivation to recover is not for herself but for other’s sake - appeasing Tai and worrying for Ruby. Similarly, Winter’s recovery is overshadowed by Ironwood’s orders and the current situation’s time constraints.

This behavior on Yang and Winter’s part is not so strange to me, when I consider Taiyang and Ironwood’s roles in their lives. Because of Taiyang’s issues when she was a child, Yang learnt to put others before herself, particularly when it concerns Ruby and Tai. Yang’s recovery becomes less about herself and more about others after Tai subtly insults her intelligence and her “moping”. I view this as falling back into old habits, Yang learning that if Tai is put through too much then she’s taken too much space (she puts on her arm after overhearing Tai saying he has to stay to take care of her), and must compensate by putting Ruby (and in a sense Tai) first.

[gif by sister-ilia]

After accepting Winter to the army, Ironwood acts as some form of surrogate father to her. Winter looks up to him because he offered her safety from Jacques, and looks for his approval constantly. Look at her reactions when she’s scolded by Ironwood for misbehavior. Ironwood offered her asylum in exchange for subservience. When Winter is in her hospital, he first reminds her how reassuring it is to have her on his side, and then proceeds to kill a councilman for disagreeing with him. It’s an indirect threat against Winter, one carefully cultivated throughout their working relationship in the military.

Regardless, the physical recovery is only part of a larger process Yang and Winter have to go through. Volume 5 made it quite apparent Yang suffers from PTSD and emotional trauma from her fight with Adam, and Blake leaving triggered Yang’s fear of abandonment. She faces Raven for the first time, and is haunted by Blake’s mere mention. She struggles against the past - the parent she wanted to put hope unto - and the future - the hope she has in Blake.

Winter faces similar struggles in the first half of Volume 8 parallel to Yang in Volume 5. She is traumatized by the fight against Cinder, most likely with PTSD as well, and Penny leaving as she did has shook her inner beliefs. For the first time, we see her visibly struggling to adhere to Ironwood’s orders with ease, and she’s deeply concerned for Penny’s well-being. She is torn between her loyalty - to Ironwood, the parent she put her trust in - and her moral compass - to Penny, who challenged her to follow her feelings.

Coincidentally, RWBY chose to portray Yang and Winter’s stress with a shaking fist, where they were injured. Having said that, Winter displays many similar physical ticks like that before her injury, but the deliberate focus on the same tick as Yang is too great for me to ignore.

Both of these struggles are also marked by a decisive choice to take action and be assertive, which is remarkable where these two are concerned. Yang forms the plan to find Ruby via Raven and refuses her offer to join the tribe. Winter forgoes Ironwood’s orders to bring team JYR to custody, and instead relies on them to save Oscar from the Whale.

Yang’s recovery does not in Volume 5 either (nor does it end in Volume 6 for that matter), but at the moment Winter’s parallel arc is unfinished. I’ll speculate about this a bit more in the next section.

IV. Rough Speculation

So when I say rough speculation, I mean it in two different ways. One, is that I’m mostly focused on characters arcs, and they’ll be fairly abstract. Two, is that I’m fairly sure most of these parallels are accidental and not intended, so I don’t hold much hope any of these will come true. Instead, think of these as “if I wanted to make these parallels intentional, how would the story proceed next?”

One parallel I do think is intentional is between the sisters. It is the first time we observe both relationships put into the test, and the outcome of this split will obviously change the sister’s dynamic with each other. How will these two relationships compare to one another by the end of the volume, I do not know, the current arc isn’t finished yet. I can only comment on how I want and hope these relationships will proceed. Currently, I see the physical split between the sisters as an opportunity to reevaluate themselves independently of the other’s influence. And, I think this change will be positive for all of them.

Though it’s obvious Yang’s choice deeply affects Ruby and will contribute to her expected breaking point, I think Ruby will come out stronger at the end of it. Yang’s choice to take charge herself is obviously very important to her growth as a person. Given how RWBY framed their split around a mutual understanding both sisters’ viewpoints are correct, I don’t think their reconciliation will be one-sided - they will come to understand where the other is coming from, and their relationship - and team RWBY - will grow from it.

Despite the difference in circumstances, I think Winter and Weiss will echo this development as well. Jacques may be mostly neutralized, but the Schnee family won’t be miraculously healed because of it. At the moment, Weiss is facing that reality now with Whitley and Willow, and I think her arc this volume will lead her to begin healing her family in earnest. Winter will almost definitely leave Ironwood, and for the first time in her life she’ll be free from someone seeking to control her, free to follow her conscience. It will also give her an opportunity to reconcile with her family without Jacques’s influence, which ties in quite nicely with Weiss’s arc - Weiss pulling her family together, Winter letting herself be pulled to them. Weiss and Winter’s bond will come out stronger, and the Schnees will finally have a chance to heal.

[gif by wnterschnee]

You might’ve noticed I put a lot of emphasis on when and where Winter and Yang make choices for themselves, because I think these moments are vital for them to grow as a person. Starting with Volume 5, there’s a been a slow progression where Yang asserts herself more often, which culminates in her decision in Volume 8 to break away from Ruby with her own objective. Like her, Winter in Volume 7 quite often disagrees with Ironwood’s plans, yet follows them anyway because of her loyalty to him. This loyalty is no longer enough to sway her in Volume 8 when she starts disobeying his orders.

Again, I’m comparing two unfinished arcs, but I’m excited to see where this development will lead us. Having Winter and Yang parallel each other like so would really hammer home how similar these two can be beneath the surface. If at some point it involves more direct contact to drive each other, that’d just be icing on the cake. For now I’ll enjoy that their only personal interaction with each other is Yang telling Winter “[she’s] still just following orders?”, followed by a glare - hopefully this preludes a future conversation between them talking about this exact point.

I’ve already touched upon predictions related to the first two parts of this analysis, what about the third? Here we can go a bit wilder, because we already know what happens to Yang (and Blake) in Volumes 5 and 6. How would I mirror Volumes 5 and 6 with Winter (and Penny)? When I think of Yang’s recovery arc, two major scenes at the ends of Volume 5 and 6 come to mind.

The first is her confrontation with Raven in the Maiden Vault, an incredibly powerful scene where Yang properly confronts Raven and calls out her cowardice. One of the reasons it works so well is how difficult it is to realize Raven’s place in Yang’s life is not clear cut; Yang hates her for abandoning her and shirking her responsibilities as a parent, yet there is still love between them. Raven’s reaction itself is both an admission of care when she concedes to Yang, and also another failure on her part by leaving her off with the responsibility, running away again. In simpler terms, Yang reluctantly confronts someone she cares for deeply, yet isn’t on her side.

Who would be the Raven to Winter in a parallel scenario? One possibility is Ironwood, who holds a similar position to Winter as Raven did to Yang. Ironwood is an almost paternal figure to Winter, but he’s making wrong and dangerous choices, and Winter seems to realize it as well. He used her and exploited her, but also offered her safety and stability. Even after Winter defects, I don’t think Winter will want to fight him physically (if she’s capable), and would probably attempt to sway him with her words. Admittedly I don’t foresee Winter’s attempt at non-aggression to be successful like Yang, so it might come to blows anyway.

A second possibility it to put Penny in Raven’s place. Given that Penny’s also Maiden like Raven, and she’s on her way to the Atlas Vault, there’s some potential thematic parallels. Given their established relationship, I think neither would want to confront each other physically, and would rather talk instead. It’s possible here Winter and Penny will switch metaphorical roles, and it might be Penny that gives Winter the final push towards the heroes sides. It’s also possible, given Penny’s hacked plot line, that Winter will instead have to sway Penny back from whatever the hacking did to her. The last interpretation would also fit in quite well with Winter and Penny’s arc focusing on personal choice and feelings winning over.

The other incredibly important scene in Yang’s arc is the Bumbleby vs. Adam fight. Blake and Yang finally liberate themselves from Adam, Blake’s abuser and Yang’s personal enemy, and they defeat him by working together. Yang is freed of her personal demons, Blake of her literal demons, and in the aftermath of his death they mend their relationship. Their trust in each other won over strength.

[gif by sister-ilia]

If a parallel scene to the Nevermore fight would exist for Winter and Penny, I can think of three characters that could fulfill Adam’s role. Cinder already set her eyes on Penny and is fairly likely to fight her again, and in their previous clash injured Winter. It matches fairly well plot-wise, but I don’t think Cinder is enough of a personal villain to either Penny or Winter to match the same gravitas as Adam. For similar reasons, Watts, Penny’s “puppeteer”, can also fill Adam’s proverbial shoes in this imagined scenario, but I fear he’s too inconsequential overall.

Or, it could be Ironwood in Adam’s place. Ironwood seeks to control Penny (like Adam did with Blake), and acts as Winter’s personal demon (like Adam was to Yang) by continuously conditioning her to repress herself. Like the Nevermore fight, there’s a motive for them to avoid killing him, but given Ironwood’s current state of mind he might push them to that edge in self defense. Even if Ironwood’s defeat would not involve death, it would be a liberate Penny and Winter, freeing them from his control once and for all - but a Pyrrhic victory all the same. I’ll admit, this might be my favorite way to defeat Ironwood.

Coda

I’ll emphasize one last thought regarding these character arcs - it is my strong belief character progressions, and healing arcs in particular, do not have a clear and set timeline. What I outlined here are not endings, but steps in the way. RWBY seems to agree with my train of thought, and with Yang in particular we see this in her current arc: yes, she has progressed immensely from Volume 3, but the healing process does not simply end, even if it may seem that way on the surface. I approach Winter’s character in the same manner; I have high hopes of her character and as a person, but change is an ongoing process, and I’ll treat it as such.

Thanks for reading my analysis! I know it’s a bit long and messy, I’ve had to skim through some ideas that could be expanded upon, so send an ask my way if you’d like me to elaborate on anything.

Other interesting reads:

Kali-tmblr’s essay regarding siblings relationships.

Tumblingxelian’s review of Yang’s Volume 4 arc.

Petracore’s review of Winter’s Volume 7 arc.

Theseerasures’s comparison of Winter and Yang.

Schneefamilyincorrectquotes talking about Schneeblings.

#Winter Schnee #Yang Xiao Long #RWBY Analysis #long post #RWBY8 #RWBY #my posts #fishy.analysis

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musicalgoats · 5 years ago

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I’ve seen the idea tossed around on here that Darcy and Emma Woodhouse have similar character arcs, and I’d like to expand on that idea. Every female lead from a Jane Austen novel has a male equivalent with a similar personality and plot arc in one of the other books. Don’t believe me? Read on.

Emma Woodhouse & Fitzwilliam Darcy

Both Emma and Darcy were handed all of life’s gifts on a silver platter: looks, money, brains. They were also given a ton of social responsibility at a relatively young age, and with no one to check their worst impulses, they are solely reliant on their own judgement, motivated by good intentions but sometimes screwing up royally. They both fall for the only person who is capable of calling them out on their BS. They both ruin a friend’s chance at happiness in love due to concerns about social class, only to bring the couple back together after learning the error of their ways. Occasionally they come off as haughty, and they have a tendency to say rude things that they don’t really mean without thinking, but they love their family and friends fiercely, and grow immensely as people over the course of their respective novels.

Fanny Price & Edward Ferrars

This isn’t a comparison I’ve heard outside of my own head, but there are so many parallels between these two! They’re both quiet people who have a tendency to fade into the background, overwhelmed by the more dominant personalities of their families, but containing hidden depths and a moral compass of steel. Both are faced with the prospect of marrying an exceptionally wealthy person, and are subject to huge amounts of pressure from their families, only to turn them down. At that point in the narrative, they stand no chance of ever getting to be with the person they love, and risk poverty and ostracism by turning down the rich suitor, and they do it anyway. Not out of any hope of truly finding love, mind you, but because they believe it is the right thing to do, and thus the only thing to be done.

Elizabeth Bennet & Henry Tilney

Both Lizzie and Tilney are mega-extroverts. They love nothing more than to poke fun, both at others and at themselves. They’re the life of the party, the center of attention. Not exceptionally attractive, but you’re too busy laughing to notice. They both cause family falling-outs by rejecting wealth in the hopes of gaining love, and they both have a sweetly-introverted sister who they love more than anything on the face of this planet.

Elinor Dashwood & George Knightley

These two have the same sort of energy: almost a Mom Friend. They’re intensely pragmatic, thinking realistically about finances and the other humdrum realities of life that others refuse to acknowledge. In social situations they fulfill the same part in the dynamic, smoothing over ruffled feathers and putting up with some true absurdities, always the very picture of kindness and propriety. Elinor’s reactions to Anne Steele and the other less-intelligent people she meets at Barton Park read very similarly to how Knightley handles Mrs. Elton. Knightley’s pre-romantic dynamic with Emma is similar to Elinor’s with Marianne, the same sort of exasperated fondness at their best friend who can’t control her impulses and thinks she knows everything.

Marianne Dashwood & Frederick Wentworth

Both Wentworth and Marianne have the same hot-headed force of will, which serves Wentworth so well in the Navy and Marianne so poorly in London drawing rooms. They’re both unlucky in their first loves, thinking things are reciprocated and expecting a ring when there was none forthcoming, due more to familial pressures than to lack of affection by their counterpart. The difference in their fates is due not to them, but to their love interests: Anne is the very definition of constancy and devotion, and Willoughby is... not, to say the least.

Jane Bennet & Colonel Brandon

(For the record, I know the Bingleys aren’t technically protagonists, but I’m including them anyway because I love them, and you can’t tell me not to). Both Jane and the Colonel are painfully reserved, to the point where others underestimate the true depths of their feelings, but just because it’s not obvious doesn’t mean it’s not there. Other people (Willoughby, Darcy) misinterpret this quietness, reading what they want into Jane and CB’s characters to serve their own ends. They’re loved by all in their respective social circles, and everyone in their stories supports their romantic aims, but family scandals, as well as rivals real and imagined, keep the lovers apart until the end of their respective books.

Anne Elliot & Edmund Bertram

They’re both unassuming, introverted middle children of baronets, sandwiched between frivolous, self-important older siblings who spend away the younger sibling’s inheritance, and younger sisters who will do anything for attention. They’re both portrayed by the narrative as being the only person in their family with more sense than vanity, doing their best to set their wayward relatives on better paths. Both make a decision early on regarding their love lives that seemed to be a great idea at the time, only coming back to bite them later (Edmund’s involvement with Mary despite their differing goals/values, Anne’s rejection of Wentworth). They both come to their senses at the end, getting together with the one who had been Admiring Them All Along in the background.

Catherine Morland & Charles Bingley

They’re both giant people pleasers, earnest but naïve and easily lead by others. Whether it’s Darcy telling Bingley not to propose to Jane, or Catherine taking Isabella Thorpe’s abundant bad advice, they both trust their friends wholeheartedly, which leads to some misfortune for them both. Catherine and Bingley are sometimes perceived as less intelligent, but they just lack experience. They come off as younger than their peers, falling in love easily and not worrying much about the greater world and its judgements.

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goodqueenaly · 3 years ago

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Hi ,

As someone who's read les rois maudits more than one time, I'd like to hear your opinion on an idea that has sprouted in a corner of my mind lately, could Gerold Lannister(the warden of the west, not the king) have been inspired by Druon's depiction of Philippe le Long, an ambitious regent to an infant ruler, who later proved to be an able leader, and who's reputation was forever tarnished by rumors concerning the strange manner of death of his nephew/niece?

It's certainly possible that GRRM was thinking, and/or will in the future think, of Philip V when writing about Gerold Lannister, but I don't find the parallel particularly strong myself. I don't see any evidence - yet, certainly - that Gerold was particularly grasping or ambitious: TWOIAF only describes him as "[a] genial man, known to be exceedingly clever" and eventually an "exceptionally shrewd, able, and fair-minded lord" (and indeed, depending on when Gerold married Rohanne, he might be seen as less ambitious than usual - choosing, out of love for her, to be a jure uxoris minor lord of the Reach instead of the right-hand man of the Lord of Casterly Rock). Too, determining whether a character or plot point comes from a specific point of influence or a general creative trope is not always easy: in writing Gerold as the uncle-regent to his elder brother's child who is then rumored to have killed the child to take power for himself, was the author thinking of Philip V in The Accursed Kings specifically or the common trope of the Evil Uncle? (Which is of course something GRRM is very much aware of - look at, say, Cregan Stark rebelling against his grasping regent-uncle Bennard Stark, or Alys Karstark fleeing the schemes of her "uncles" Cregan and Arnolf, who had seized power at Karhold.) Too, I don't think Philip V's reputation was particularly tarnished by rumors that he had arranged his nephew's death: while he himself ruminated, shortly after the event, on "the other crime, the murder of the child, which he equally had not ordered but of which he was the silent accomplice, almost the inspirer" and there was an accusation brought against Mahaut of Artois for killing him, Hughes de Bouville revealed to Pope John XXII that the case came out in Mahaut's favor (thanks to torture of witnesses and admissions often "against [the] private convictions" of those testifying, according to Bouville); Druon, in his single chapter overview of Philip V's reign, barely mentions Jean's death at all. Additionally, though we have little for the moment on Gerold's political outlook or beliefs, I don't see much in the way of similarity between Gerold's style of rule and Philip's; there is no mention during Gerold's tenure of concern for the rights of non-aristocrats or reform of the law, as we see with Philip V, and while Gerold was busy increasing the prosperity of House Lannister, Druon describes Philip V's reign as being marked by complaints about a lack of funds (because, as Druon explains, "[i]t was no doubt too soon as yet for the people to grasp that justice and peace were necessarily expensive"). (And, of course, as a minor point of clarification, we are comparing here a three-year old lady who died within a year of coming to power and an infant king who died within five days of becoming king - a minor difference, perhaps, but worth noting if we are specifically considering this as a potential parallel.)

All of this is to say, I think the more direct parallel between Druon's Philip V and something in ASOIAF will be with our Egg, the someday Aegon V. (That they happen to share a regnal number is either a fun coincidence or another point of comparison, depending on when GRRM started considering the parallel.) Like Philip, Aegon was a younger son of the king; while Egg had two older dynast brothers (as well as Aemon, legally removed from the succession after taking maester's vows) and Philip one elder and one younger brother, I tend to think GRRM divided the personality of Louis X (and, to some extent, the youngest brother, Charles) between Daeron and Aerion. Like Philip (whom Druon consistently calls a "great king"), Egg is clearly the author's favorite of this generation of princes: “handsome, strong yet somehow kindly, approachable” in GRRM's own words, an intelligent, brave, and good-hearted boy whom we are watching grow up through the Tales of Dunk and Egg. As Louis X left as his only children a toddler girl (suspected of illegitimacy due to her mother's affair with Philippe d'Aunay, which is an argument brought up to keep her from the throne) and an unborn boy, so at the time of Maekar's death his first two sons had left as their issue a young girl (who is similarly dismissed from the possibility of taking power, this time due to being "simple-minded") and an infant boy. While Egg does become king, as Philip V did (I've even speculated on the possibility that baby Maegor will die as an infant as Jean I did), neither reign is considered a success in-universe, and for similar reasons. Philip V, so Druon notes, "had been a wise King, careful of the public good", whose acts included 'reorganiz[ing] the law so it might be applied with greater equity", developing the "emancipation of the serfs" so that he could "reign over a people who enjoyed the ‘true liberty’ with which nature had endowed them", and "preferr[ing] negotiation to foolish military escapades", which (as I mentioned above) were unpopular measures; accordingly, he died as "a lonely man who was too much in advance of his time ... misunderstood by his subjects", and "[t]he great barons ... contemplated the death agonies of the young King they had never loved with a certain satisfaction". Aegon V, for his part, "enacted numerous reforms and granted rights and protections to the commons that they had never known before" which "provoked fierce opposition and sometimes open defiance amongst the lords"; within a few years of his death, in the reign of his grandson Aerys II, Tywin as Hand "won the approbation of many great lords by repealing what remained of the laws Aegon V had enacted to curb their powers".

(Which is not to say that a source of inspiration can only apply once, of course; after all, I think of the story of baby Jean I as inspiring both Aerion's son Maegor and Mance's son in the main novels.)

#asoiaf meta #the accursed kings #aegon v targaryen #gerold lannister

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picturejasper20 · 4 years ago

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Debunking common misconceptions about the Ben 10 Reboot.

A mutual of mine asked me if could write a post debuking common critiques people have of the Ben 10 Reboot. Some of these critiques are based of misconceptions and misinformation about the show while others are more subjective, meaning there are a matter of personal opinions.

I’m going to divide this post in different sections. In each section i’m going to try debunking a misconception and explain why i think this isn’t correct. If anyone wants to give their opinion on the subject, feel free to reblog the post or leave a comment.

I’m going to add a ¨Read More¨ since it’s going to be a long post.

1) ¨The reboot only has fart jokes as humor¨

I’m not sure from where people got this idea that the only type of humor the Reboot has are toilet and fart jokes. Does it has some jokes that are based on this? Yes! But Reboot’s humor has more variety than that.

Many of the jokes come from the characters´ reactions to certain events, how silly some situations are and from the dialogue. For example: Episodes focused on Xingo as the antagonist have tons of slaptick and old cartoon humor.

Since the series doesn’t take itself too seriously, it uses this to its advantage to make fun of tropes, franchises and popular culture. It also has many references to current trends such as youtube and social media, things that the new generation is more familiar with.

If these jokes land or not is up to debate but to say the Reboot only has fart jokes is a bit of a stretch.

2) ¨The Reboot has no plot or worldbuliding¨

This is one of the weirdest arguments for me because if you watch the show you’ll know this isn’t the case. The show has a main arc as well as some subplots.

I think people get this idea due to how the show is mainly episodic in season 1 unlike the rest of the seasons. The thing is that even season 1 has continuity that is quite important if you want to understand the rest of the series. It introduces villains as well as secondary characters that become important in future episodes. It also has tons of character development for the main protagonists, so, skipping this season would mean missing out their character growth.

By the end of season 1, Ben gets a new Alien called Gax which is the same species as the original Vilgax. It turns out this alien was half of Vilgax’s original power and Vilgax was trying to get it back. The finale is has interesting surprises and plot twists that change the status quo of the series in some ways.

In season 2 is mainly about Vilgax teaming up with other villains to steal the Omnitrix from Ben. These episodes are quite entertaining and help to develop the main characters. What’s more is that Ben gets a new alien called Shock rock and isn’t able to transform into Upgrade, which becomes important in the season finale.

I could talk about Kevin’s character arc, Charmcaster, Glitch, the Forever Knight’s arc, Animo subplot and tons of other stuff. My point is that saying that ¨the Reboot has not plot¨ would be a huge misconception about the show. It would make more sense if someone complained about how its episodic structure hurts and distracts from the main story arc and it would have helped the series to not have so many episodes centered around the characters going on random adventures.

3) ¨Shock Rock is a cheap copy of Ghostfreak¨

When i first heard about this complain it suprised me a bit. Look, i get why a person could think that "Shock Rock is just Reboot's Ghostfreak" since they share similar stories.

However there are a few differences between the two:

Ghostfreak was possesed by an evil entity, Zs'Skayr, who later escaped from the Omnitrix and did terrible things. This was so horryfing for Ben that for a long time he didn't turn into ghostfreak out of fear of their conection with Zs'Skayr.

In the original series it wasn't really explained how Zs'Skayr got inside the Omnitrix and for how long he was concious about being trapped.

Shock Rock was introduced as a result of a terrible glitch caused by the Omnitrix being rebooted. They replaced Upgrade's DNA pod and allowed Ben to give the aliens stronger versions of themselves.

Shock Rock isn't completely evil and never really tries to escape from the Omnitrix. All that they did was to build that tower to send a signal to the Fulmini. Once the protagonists reboot the Omnitrix again, Ben was able to transform into Shock Rock without any problem.

Both aliens are a bit similar but on a deeper analysis they have different execution in their respective series.

4) "Glitch is a copy of Ship".

This is one i get why people complain about it. Glitch and Ship have many parallels in common. (Both being mechamorphs, they are both sidekicks)

The main difference is that Ship acts like a pet and is able to transform into many electronic devices. On the other hand, Glitch lives inside the kart and can't transform in the same way that Ship does. (However he can in the future, years after developing his powers).

Their backstories and origins differ. Ship was born from a mechamorph that needed help after he crashed his own ship. Glitch was the result of Ben using Upgrade to reboot the Omnitrix in the season 1 finale which forced Upgrade to fuse with Ben's DNA to survive.

Another point i want to add (based on speculation) is that Glitch resembling is Ship seems to be very intentional. I think the creators wanted to Ship to appear again in the Reboot. So they decided to create Glitch.

Keep in mind that the Reboot makes tons of references to the original series and its sequels. It wouldn't be suprising if Glitch is a reference to Ship.

5) "Max is not clever/ is dumb"

I don't really got the impression of reboot Max being "dumbed down". He is one of the characters that acts almost exactly as he does in the original series.

I think this complain come from Max being less serious in this series: He isn't so strict with the kids and gives them more freedom to do what they want. He is also more open minded and has less "black and white" mentality that he had in the original series.

He is still almost the same character, just more easy going and down to earth in comparison. He still acts as a guide for Ben and Gwen. He still has a few arguments with Ben for not listening to him in some episodes.

@theangrycomet made a post a few weeks back about Reboot Max. I think people should check their post because they explain many things that i mention here in more detail.

Here is a link to their post: X

6) "They cancelled Omniverse because of the reboot"

This one is a somewhat old argument. Again, i don't know where people got this idea that reboot was the main reason they cancelled Omniverse.

I have been trying to find an article that could explain the reason behind its cancellation. All i was able to find were fans talking about how it ended because of the low number of toys getting sold. Nothing about the reboot.

It could one of the things lead to Omniverse being cancelled but not the only main factor.

If anyone has more information about this feel free to leave a link in the comment section or by reblog.

7) "Ben is out of character in the reboot"

This something i don't really get at all. Reboot Ben behaves pretty much the same way he does in the OS. He is still cocky, stubborn, competitive, impacient and gets into a trouble.

Is it because he appears to be nicer in this series? If it is because of that then i personally like this change. I found Ben to be more likable in this version. As well as capable of regretting his actions and learning his lessons.

Reboot Ben is a complex character. It has so much development that i would find it difficult for me to sum it up in just one post.

I think fans get this impression since they are more used to Alien Force Ben than OS Ben. That's why they believe Reboot Ben is acting OOC when in reality is he isn't much different from the OS Ben.

If anyone has a better explanation, please leave it in the comments section/reblog.

-----

Okay, those are the most common misconceptions i found after talking with some mutuals. While a few things are a matter of doing fact checking, others are based on my perspective on the series.

Keep in mind that i don't think the Reboot is perfect by any means. It has its issues like slow pacing in the first season or characters that are annoying.

However, if someone wants to give a serious critique, they should try doing a bit of research and fact-check to see if their points are valid. Otherwise,they might look misinformed at best and making bad faith arguments at worse. That's all.

#ben 10 reboot #ben 10 2016 #ben 10 shock rock #ben 10 reboot vilgax #ben tennyson reboot #glitch ben 10

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unhealthyfanobsession · 4 years ago

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How would you compare the ACOTAR ships to TVD ships? Some people say Feysand is like Delena.

This is SUCH A FUN ASK!! Don’t mind if I do! I’m going to compare the general dynamic of the characters as well as archetype/ story parallels.

This is a crossover post so SPOILERS FOR BOTH ACOTAR AND TVD BELOW.

Stefan-Elena-Damon = Tamlin-Feyre-Rhysand

I don’t mean to do Stefan dirty like this, but the parallels are really undeniable. Stefan and Tamlin both were the kind, caring, magical first introduction to this whole new world for Feyre/Elena. They fell in love with them easily and it was a pure, beautiful love but while they were in it there were darker (Damon and Rhys) forces pulling them in another direction. Both women loved these men SO fiercely and sacrificed for that love. Feyre fought the 3 trials with Amarantha where she ended up being helped by Rhys. Elena went looking for Stefan in his ripper days even though Klaus would kill her if he found her and she was helped by Damon. Both of them fought for this love but then once they had it back... either they or the man or both had changed too much from the trauma and their relationship simply couldn’t work anymore.

I totally agree with the Feysand= Delena point because I think they are both relationships that are very “this person over everyone else no matter what” and that is romantic, but at we see, can also be overbearing/toxic at times. They both do awful things that the heroine has to later learn their motives for and forgive them for. Damon “kills” Jeremy and tries to compel Elena to kiss him early on. He feeds Elena his blood against her will when Klaus might kill her but then he ultimately makes it right through self sacrificing hero acts. Rhys does... everything he did under the mountain and he doesn’t tell Feyre she’s his mate, but then he helps her heal after Tamlin and ultimately saves Prythian. Both characters are also haunted by an abusive relationship- Rhysand a sexually abusive relationship with Amarantha that he endured for 49 years and Damon and emotionally abusive/manipulative relationship with Katherine that defined his life for 150 years.

Damon has a quote in season 4 that I think really describes both couples. He says: “if you’re going to be bad, be bad with a purpose. Otherwise you just aren’t worth forgiving.”

Klaroline = Nessian

This one is more based on character interactions and a bit of my own bias. I struggled to find a TRUE nessian parallel couple but I think Klaroline is the closest for a number of reasons. Largely because Caroline and Nesta are very similar characters. Both start off as shallow, superficial mean girls who we get an early glimpse of their heart (Caroline crying and her I’m never the one monologue and Nesta being on Feyre’s side when she returns in ACOTAR) who then get changed into something they never wanted to be and it helps them grow and OWN THEIR P O W E R. Even Caroline’s stint as emotionless mess after her mom’s death parallels Nesta’s destructive actions after losing her father.

Cassian and Klaus both have the whole “I’m a worthless bastard that no one wants and I killed my father but I am STRONGER THAN EVERYONE so you can’t hurt me even though I’m really just a soft boi who needs love” vibe going on.

And the CHASE. That’s the biggest parallel here. These are both couples where this powerful man walked in and said “that one” re the beautiful woman who hated them and then did not give up. But with both of them it’s a gentle chase. Klaus knows that Caroline is constantly trying to trick him but he doesn’t care because he just wants to spend time with her and whenever she is in danger he is there on the DOUBLE and does things he doesn’t want to do for her (ex- graduation, hiding/ protecting Stefan in season 6). Cassian knows that Nesta is going through a hard time after ACOMAF and he flies up to the House of Wind every damn day to see her even when she pushes him away and he instantly goes into fierce general I will kill mode if anyone threatens Nesta. Also both couples are prone to lashing out at each other (Caroline “terrible people” line; Klaus with his biting. Cassian “everyone hates you”; Nesta with her well... being Nesta LOL)

Bonus points for pet names and relentless teasing when they aren’t trying to kill each other.

Quote for them is when Caroline tells Klaus “anyone capable of love, is capable of being saved” I think that also has big Cassian @ Nesta in ACOSF energy.

(PS I did consider Nessian being Steroline but 1. I fucking hate that ship and 2. Stefan was never there for Caroline during the hard times which is the anti Cassian AND I think the for me it’s always you vibe just fits the intensity of Nessian better)

Kennett = Elriel

I’m not tagging this Elriel so don’t COME FOR ME. In my opinion, these are both ships that had some fun ~tension~ and are kinda sexy/enticing. Kol with his love of witches and their little graduation ghost adventure and Azriel with his attraction to Elain and saving her from Hybern. BUT ultimately I think the most interesting thing about these ships was their convenience. I think fans liked to put Bonnie with Kol in fanfics because it was an easy way to make Bonnie understand Elena and Caroline’s choice for a dark boi and it was just convenient. Likewise I think that Elriel is convenient in writing to simply throw Elain with the other bat brother and tie everything up in a neat little ribbon.

Mabekah= Elucien

In this comparison Rebekah is Lucien and Matt is Elain. This was a couple where one person started off with bad motives (Rebekah wanting to kill Matt at the ball; Lucien plotting with Hybern) but they have genuine feelings for the person once they get to know/are mated to them and you see that person is a much more complicated character than we previously saw. Rebekah and Lucien are both lost, lonely, and struggling to find where they fit in while Matt and Elain are both struggling but ultimately the much beloved “sweet” character who everyone is willing to die to protect. At first the sweet character avoids the villain character like the plague, but eventually things turn around and they see past their previous bad actions.

BonEnzo= Gwynriel

Talk about characters who have some trauma to heal together. Enzo was literally kept in a cage by the Whitmore’s for 50 years and abused much like Azriel in his dungeon. Gwyn has had to make unspeakable decisions in order to protect the greater good and suffer the horrible consequences for it- losing her twin to protect those children much like how Bonnie lost her grams to protect Stefan and Elena. Enzo started off interested in Caroline (like Azriel and Elain) and getting over an obsession with Lilly (Azriel and Mor) but was ultimately drawn to Bonnie for her strength, determination, and good heart despite everything she had been through. These are really all just characters that have been through the RINGER and need to find healing in each other’s arms but would never admit that’s what they are doing so it just happens slowly and one day they realize things don’t hurt as much anymore.

AND FINALLY:

Damon and Caroline= Nesta and Tomas

You know why. Damon doesn’t get off that easy just because he “changed”. He abused Caroline and I won’t be pretending in 2021 that he didn’t.

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lover-of-queens · 4 years ago

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Farah Dowling is Alive Part 2

The follow up to Part 1 or as I like to call it: look mom, I told you this degree would have uses in the real world!

If you haven’t had a chance to read it yet, you can find Part 1: Here

You know the drill, under the cut cause this is probably going to get long!

Episode 4: Some Wrecked Angel

Episode opens with our favourite trio. If you’ve read the first part then you’ll be familiar with my argument that it could be possible the writers are leaving Farah x Saul threads to pick up at a later date. I think this scene has some interesting ones. There’s a lot of effort in this scene to set Farah and Saul up as parallels - in a way that also makes them stand apart from Ben. We have them saying his name together, but also, when they discover Callum’s body, both Farah and Saul are in sync as they move into a kneeling position.

I don’t necessarily know if this could be considered an argument for them bringing Farah back, however, in the scene with Farah, Stella and Luna, Stella brings up an interesting point about Farah’s pedagogy. We’re told that Farah chooses care and time over “solely results” when it comes to teaching. In the next episode we learn Rosalind’s own teaching style involves putting her students “through hell”. I don’t necessarily know when the change will happen but given this, I don’t see any way Rosalind can remain Headmistress, especially when they’re taking pains to show Farah as better suited for the role.

Also important in this scene is Farah and Luna’s last exchange. We know what appearances Luna has helped Farah maintain - the barrier/illusion that stops Aster Dell from being seen. So, what’s interesting is Farah’s next line:

Farah: “Yes, we’ve both done a great deal to preserve Solaria’s reputation.”

This does not get addressed during the remaining episodes. Personally, this line and the amount of tension between Farah and Luna also strikes me as a potential thread that could be picked up later. I’m going to wager that I’m not alone in wanting to know what exactly they did to “preserve” Solaria’s rep. And my guess is, because Brian has mentioned that they’re going to expand on the winx world, we’re going to be finding out more about Solaria in S2. Theoretically, I suppose whatever event that is being referenced here could be dealt with without Farah on screen, but then we’d miss out on all the fun tension! Also, as of right now, fan response to Luna is nothing compared to Farah (at least from what I’ve seen).

Tattoo theory, several people have already spoken on this and I don’t want to speak over them. I’m still sorting out my own thoughts on whether it’s Farah’s or Eve’s but I will say that Farah is always wearing rings so it seems to me that if they wanted it covered they could easily do it with a ring (or makeup). If the tattoo is purposely put there then I’m going to assume its for a reason that the writers may want to deal with at a later date (hint, hint: bring back Farah).

Episode 5: Wither Into the Truth

I may do another post on this at some point if I can find enough to say to warrant it but Farah’s eye colour when she does magic. Up until now every time Farah’s done magic her eyes have glowed blue and yet in the scene where she questions Beatrix they glow light orange. Now I’d always assumed that the colour of the glow = element, which was why I didn’t know why Farah’s glowed blue to begin with; she’s a mind fairy so I would have expected the purple that Musa has. And actually the confirmation of her being a mind fairy comes from Fate’s IG page shown below, I don’t know if it’s ever explicitly stated in the show? Further, to my knowledge, Farah is the only fairy we’ve seen whose eyes glow different colours. So, a thread to pick up in season 2, perhaps?

Also I’m very interested in the use of the word “Once”. In this instance I would almost take it to mean ‘no longer is’ but the tense is present perfect (I think?) which can suggest the continuance of an action. But now I’m being overly nitpicky and technical. Also I don’t know how ‘principle’ made it through what I’m assuming are several stages before making it onto IG, but it gave me a laugh!

“Incredibly powerful” yet loses to Rosalind without a fight? Not buying it. Additionally, the use of “other forms of magic” is interesting and I figure could be taken to mean other elements. But I wonder if there’s more to it than just that. Farah shows knowledge of archaic Fairy Magic with the Nettle Amalgam, so maybe there’s more archaic knowledge out there that she knows ... that could prove helpful.

Now, back to the episode. When Farah and Hologram Luna are talking, the fact that there are two burned ones travelling together is cause for concern.

Farah: “There are two of them travelling together. That hasn’t happened since … In a long time.”

Once again we are left with a thread of something that has happened. In the same IG post as above, in the section for Saul, it mentions that he and Farah became confidants “after experiencing the Black Woods Massacre”. I wonder if that could be what Farah’s referring to here? I know the massacre has come up once or twice in conversation and correct me if I’m wrong but I don’t believe it’s ever been properly explained? To me, it looks like a great bit of backstory to get into at a later date. It may not confirm Farah being alive necessarily, but you could take it as a sign that we might see Eve again.

Lastly, for this episode, is the scene between Farah and Bloom. Specifically this part:

Farah: “I will help you get the answers you need. I give you my word.”

You can probably guess what I’m going to say at this point, a thread that can be picked up in season 2! You could counterargue that Rosalind could help Bloom with answers (as she offers in the next episode) but in my humble opinion, I don’t think it would offer narrative satisfaction. First, because we’ve been shown what a terrible mentor Rosalind is. Second, they’ve spent the first season showing how Farah and Bloom’s mentor-student relationship has developed (bloomed?) so it seems a waste to go through all of that development for nothing.

Episode 6: A Fanatic Heart

Rosalind has her little prison break. Personally, I still think there’s a lot of unanswered questions about what happened after Aster Dell, how they imprisoned Rosalind, etc. And I do hope that we get some answers in Season 2 - again these answers may not necessarily involve Farah on the screen but as every writer gets told the age old advice of “show, don’t tell”, I think there’s potential for that.

Farah immediately tries to disprove my points about her intelligence by wandering alone in the woods at night. But she’s pretty, so I’ll allow it.

Rosalind gives Bloom some answers but not all, so I do think that my point above about Farah helping Bloom find more answers still stands. Further, I find the Farah is Bloom’s mother theory to be unlikely for several reasons (this is not the post for them) but I do want to draw our attention to several lines of dialogue here.

Bloom: “You hid me from Miss Dowling.” ….

Rosalind: “The guidance you needed was love. Farah couldn’t give that to you. Vanessa and Michael could.”

There are SO many reasons why this exchange is fascinating. I’m interested in why Bloom brings up Farah to begin with - her other points could stand alone to the same affect. I’m also really interested in the direct comparison between Farah and Bloom’s adoptive parents -- if Bloom hadn’t gone to them, she would have gone to Farah? It almost seems as though the direct comparison implies that. Also, considering Bloom’s relationship with her adoptive parents, I really doubt the validity of the statement. Plus, I wouldn’t trust Rosalind’s idea of love in general.

Also, Rosalind is just so certain that Farah couldn’t love Bloom … can’t love in general? There’s just so much of Farah and Rosalind’s relationship that hasn’t been explored that I think really needs to be.

Now, the scene that always makes me cry! Farah and Bloom have had a difficult time this season and it’s all lead up to this moment of trust and vulnerability - on both sides. If you ask me, this season has been setting Farah up to be the mentor figure that Rosalind was not - Rosalind’s opposite. And they’ve worked hard at it, even when they were trying to convince us Farah might be the evil one which like lmao. I find it hard to believe that they would go through all of that work just to discard it by leaving Farah dead. Especially because what Farah admits to Bloom in this sequence feels like a changing moment for her - she recognizes things she wishes she would have done differently (being less of a figurehead, being more open) and I think its only fair that Fate allows her to follow through on those things.

And onto the scene that I really don’t want to rewatch but I’m going to do it for y’all. I’ve touched on Farah x Saul moments so it’s only fair that I touch on Farah x Rosalind ones. There is tension here (looking at each other’s lips, Rosalind getting closer to Farah, Farah grabbing her), I mean the cast has joked about shipping them. But there are several different ways to read this and you are more than welcome to your pick! It doesn’t really change my point, which is … thread to pick up in season 2? Have you started taking a shot every time I’ve said that (please don’t <3).

Farah who has shown herself to be incredibly intelligent and cautious when it comes to Rosalind turns her back on her. And we get what is probably the most important piece of evidence: the eye glow. It can mean absolutely anything, but I’d wager one of the reasons its there is to have people do exactly what I’m doing here. Theorizing about whether Farah could still be alive. I’m going to take that as a sign there’s hope (mainly because I think it would be cruel to suggest a ‘could she come back narrative’ and then … not have her come back). Also, in the Fate novel, it describes Farah’s death as “too easy”. I absolutely refuse to believe that it could be easy to kill Farah when she’s proved time and time again how powerful she is.

That finishes my episode by episode analysis. It totals well over 2500 words. If you can believe me, I still have more to say on this topic (discussing general counterarguments and possible logistics of Eve’s filming), so stay tuned for a Part 3?

#Farah Dowling #fate: the winx saga #fate the winx saga #fate SPOILERS

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icy-blue-rose · 4 years ago

Text

Okay I just HAVE TO get this off my chest right now.

I was watching the new episode of 2.43 seiin koukou danshi volley-bu, and well, I decided to check out the comment section because hey! I want to hear what other fans of the series have to say, liked, and so on.

Instead however-

I was met by the most horrid comment section it reminded me why I usually dont actually interact with the anime community (and usually just talk to myself or make posts like this one that nobody will read aha)

But shit, I like, felt so uncomfortable.

Now before I rant a bit, if anyone skimming this may get offended let me make something clear.

If you just arent into the series, or don't like the show/series, then that's fair.

I have literally no problem if you dont like the show, or are simply expressing that you just dont like it and list your own reasons, I completely respect people's opinions and right to openly criticize series, even if I dont agree with it.

However, the following, while I wont actually attack people for it, just made me so uncomfortable for liking the show that I had to talk about it.

So here we go.

2.43 seiin koukou danshi volley-bu is not a sports shonen and so you shouldnt expect it to be written and animated like one.

People are free to say they dont like the animation, artstyle, or way the series is written, we all have our personal tastes.

But, like, it felt like non of the people commenting had a single brain cell.

No I am not exaggerating.

This series is written is a very particular way, one that I'm ABSOLUTELY loving.

I'm not fond of most writing styles and usually have a hard time reading novels but this one I particularly enjoy.

However, it felt like everyone was bashing it for how it's being written, not understanding what the author is doing or setting up, not even understanding the basic structure or style the author has used for their series.

It honestly made alot of the people complaining sound really dumb, no offence, but you all sound stupid.

Then there were our typical HUGE swarm of "ewww gaaaay, omg he blushed, omg so cringe, ewwww"

Which I mean, every sports anime has so I'm used to the endless flood of these types of comments but I find them really annoying because dont get me wrong.

I'm Queer.

I like LGBT anime/manga but I also really enjoy Yaoi and Yuri in it's pure ridiculous form at times (not I'm not saying all BL or GL is the same, I dont think I need to get into this rn)

And of course I enjoy shamelessly shipping and headcanoning characters as well, whatever I want because it's fun and I am aloud to HEADCANON all I want.

So or course I like to jokingly ship sports anime characters for fun, even if I dont genuinly ship it , or sometimes do.

Because I like certain relationship dynamics they can have that are never explored in anime/manga.

However, being serious for a second, I dont genuinly go around saying characters are "Gay for sure 100% yeeee"

People blush at their friends. People and characters can have deep bonds and relationships that arent romantic whatsoever and can STILL feel more like a romance than a real romance, despite it not being intended in that way at all.

It's so stupid to bash a character for "ewww gaaaay shit" when they blush at, someone they genuinly care about and have a non romantic relationship with?

Idk it just makes them seem dumb, internet trolls suck and I usually ignore them, I just feel like complaining today.

In the end I must say, the most annoying group of people in the comments were, as any 2.43 seiin koukou danshi volley-bu fan has seen, the fucking haikyuu fandom.

I feel like I should note that I love haikyuu, I do, it's great, for a sports shonen I do enjoy it alot.

After all I do love me some sports shonens.

But haikyuu fans need to buy some brain cells or critical thinking abilities.

Listen, to all the normal haikyuu fans like myself, I salute you and this is in no way direct towards any of you.

It's for the....other ones.

Haikyuu and 2.43 seiin koukou danshi volley-bu have a couple things in common.

Volleyball

Their source material started getting serialized around the same times

Some character designs look similar.

And I'd say that's about it.

Neither one "copied" a premise from the other.

Okay? Haikyuu fans? For fuck sake? Can you stop "omg they really are running out of ideas huh"

"Omg this is a haikyuu rip off"

"Omg this is a watered down shitty haikyuu knockoff"

I'm going to shoot myself I swear to god shut up.

No.

And fucking no.

It isnt. They started coming out in the same few years, and start completely different, a knock off? How?

I dont even see it one bit.

Now on the topic of some similar character designs.

To put it in a way haikyuu fans would understand, I've seen over 12 Kageyama "lookalikes" in anime, ones from LONG BEFORE haikyuu, and long after.

It's literally a common thing in any media platform, but we've all seen the same character design used before in diffrent shows.

It's not new, character designs were not stolen, please get a fucking brain cell.

Also he looks more like Saiki.K in most of the anime shots in my opinion.

Now, if you like haikyuu and you're looking for another sports shonen to

Live up to the hype, have the same premise kinda or just that awesome animation and typical sports shonen storyline you love to fill the void until another haikyuu season comes out.

Just feel like watching another sports shonen in general.

It isnt the show for you.

Now if you want to check out a volleyball show, check it out and form your own opinion on it and for the love of god dont compare it to haikyuu.

It's a sports drama.

If you like shes like Stars Align, Battery, or even Ahiru no Sora (which I feel has a nice balance of sports and drama, rather then focusing on either category, it balances both really well) then this is a show for you to check out.

I've watched I think 4 diffrent baseball anime? Maybe 5?

I never once compared them to each other while watching.

While comparisons are fun to do! I love reading about parallels, series that inspired other series and examples of how it was done and all that awesome jazz!

It's not the same as actively comparing a show to another one while you watch it.

Especially when they arent even in the same genre category.

Anyways this probably seems like a pointless rant but the comment section actually crushed my week long built up excitement for the new episode, cause I had the misfortune of opening it first to see who else was hyped and enjoyed the episode, only to find well, all of this crap.

And fans like me who tried to politely digress and explain how the writing style is different than the average sports series, or explain why it's written how it is, alot of them got met with SWARMS of more ignorant and just plain ride comments.

Also all my "you're fucking stupid" comments in this rant, are directed towards those people in particular.

Now if you are simply genuinly confused about why there are time skips, why it's written how it is, or any other things, this is not directed at you.

Not at all.

Not understanding a writing/directing style is a completely innocent thing and there are many fans who would be happy to explain it.

The hate is directly towards the arrogant, annoying, internet trolls and haikyuu fandom who has been getting annoying lately? Especially about this show.

#2.43 seiin high school boys volleyball team #2.43 seiin koukou danshi volley bu #2.43 #2.43: seiin koukou danshi volley bu #opinions #rambles

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