#and i find the parallels and comparison very fun because i personally think they were both right

[mellohiizz]

mel mellohiizz............ can i beg for uu!parrot and uu!clownpierce art

i love the parallels between them, it's so fun to think about

[put-them-thangs-away]

while i figure that out, not sure if anyone has done it yet, but i want to do a little dive into the basics of the tarot cards used in this jack & joker episode, now that i actually have a moment and can do more than just the basic off the top of my head readings. i’ll be using the golden thread tarot deck mostly because i like how concise it is and also its more accessible to me right now underneath my sleeping dog than my shelf of decks in my room lmao. this is gonna be,,,, real long probably so all the details will be under the cut, if you wanna join me for my rambling:

fun little sidenote before i get started: when i went to begin discussing why i love the use of tarot and nang’s characterization specifically, my card of the day that i drew was the Queen of Swords which is like 100000% The Nang Card™️ lol [complexity, perceptive, clear mindedness etc.]

“a woman of immense complexity, sometimes considered cold-hearted, but also sharp of mind and wit, independent and possessing great powers of organization and analysis.” i won’t go down the rabbit hole of sword suits as a whole bc that’s not the point of this post and so far the show hasn’t gone into minor arcana, so i’m just gonna say HMMMMM very inch resting timing,,,,, anyways,,,

now, of course i have to start with joke’s card and its myriad of double meanings. in just about any piece of media, if you see The Fool card it should automatically be flagged as a red herring. it’s meant for you to look at it and take it at face value based on the words and image…. much like our four little idiots did when first shown their cards. like JOKE YOU GOT THE FOOL BECAUSE YOU’RE A DUMBASS LOL! and he’s the joker so of course he would also be the fool, yes? unfortunately for our little baby clown, the actual symbolism of the card is childlike innocence and naivety, often to their own detriment. it speaks of blank slates, new beginnings, and the start of a journey. “he does not know the dangers that can beset him during his travels, and thus he stumbles forward with complete optimism, never suspecting that he may be walking in a thin tight rope.” oof yikes. sound familiar? nang rly read that boy for filth huh,,,, aside from the obvious heavy handed post-prison clean slate, we’ve also got the metaphor connected to jack’s forgiveness and starting their relationship over. there’s a lot more to be said here as well about how naive joke can be when thinking he’s doing the right thing and that his choices are for the sake of someone else, without clearly seeing the consequences their may be for that person as a result of his actions. at the risk of Never Shutting Up About It, i will have to make myself move on.

i’ll get into tattoo’s card next because it’s really interesting to me that he was assigned The World, which I kind of would have thought would be a card assigned to jack instead. i see what they were going for in this episode with it, i think, but it felt a bit shallow in comparison, so there may be more in relation to this that we have yet to see. as The Fool is the first card (0) in the major arcana, The World is the final card (21). this card symbolizes an ending of a cycle of life, specifically before the beginning of a new cycle of life. it’s an indicator of major and inescapable change. throughout this episode, we see the shift in tattoo’s heart and priorities being held up in comparison to their past heist through some pretty straightforward parallels, so from that angle, The World makes perfect sense. (especially since one reading of The World when in reverse is inertia & stagnation) tattoo wanting to run in and save joke when he thinks he’ll be caught in the heist is our window in to see The World changing. that being said i find it interesting that this card would be chosen for him since it sort of,,,, kickstarts the journey for The Fool and is generally somewhat,,,, final. so i’m just reeeaaaalllllyyyy hoping that this does not mean tattoo has to actually end his cycle in any way other than metaphorical for the other to continue. the man has grown on me, what can i say? 😭 we’re just gonna ignore all those warning bells in my head and choose to go with the “accomplishment and fulfillment from both inner and outer sources” reading. yup.

then we’ve got arun, whose card is The Moon, which is double fun because arun’s name means dawn/sunrise. there’s a lot of meaning that could be extrapolated here, but based on tattoo’s card seeming on surface level to be about the state of his heart and his involvement in this little found family, i’m going to guess that arun’s is the same. The Moon card symbolizes intuition, the unconscious, illusion, and deception. it can be read as a signal of something being not as it appears, a truth you cannot admit to yourself, instincts that we have buried in our unconscious, among other things. this card being chosen for arun actually actively makes me more nervous than tattoo getting The World lol. if we choose to read it at surface value, could just be that in this heist he had to follow intuition, and got himself turned around in the process (eagle statue etc), or just generally that he did not previously appear capable, but here he is helping this mission be pulled off. with the opening scene of arun crying about missing his dad and that,,,, not really getting resolved actually,,,,,, that makes me wonder about some alternate reading options, but like,,,,,, i don’t want to. so. Simply going to close my eyes on that one! no thanks!

then of course there’s everyone favourite head empty good boy, hoy, who was assigned The Star card. out of all the card readings, this boy got the most straightforward one and i’m trying not to read too much into that since they were all assigned by nang and my brain hasn’t quite caught up to [handwaves] whatever she and hoy have got going on over there. this card is symbolic of faith, optimism, and hope. so….. yeah hoy in a nutshell. not a whole lot more to add in there.

skipping The Heirophant card and The Tower card to come back to later because i have Some Theories there and they may make more sense after i go back and rewatch a few things

ANYWAYS if you read to the end of this thank you and i’m sorry please feel free to yell at me about it

[thebadguys2news]

🟢Director Pierre Perifel talks about The Bad Guys 2 being bigger than the first movie & more!

About finding the right balance between children and adult jokes

"Maybe by writing for us first? By imagining movies that make us laugh. Our writers are really funny, already, it must be said (Etan Cohen and Aaron Blabey, already on the first opus). They quickly knew how to find the right tone for the Bad Guys. I don't know how they do it, but everything seems more intelligent in their scripts. Maybe because they work hard on the characters? The comedy comes from their characters, they manage to make them tell the jokes naturally, very fluidly. They don't try to throw out a good joke and that's it, you see?" -Producer Damon Ross.

"I would also say that we probably found this tone by avoiding making a parody. Above all, we like the kind of films that we remake in our own way, we don't make fun of them. We play with clichés, we put in little winks for moviegoers who will recognize this or that reference, but it's more of a tribute. In this sequel in particular, the dialogues are very clever, I think, but if it goes over the heads of very young children, it doesn't matter because they'll have a good visual joke a few moments later." -Director Pierre Perifel.

About why the sequel isn't called "The Good Guys"

"We're still playing with this idea, actually. In the first one, our hero advised his team to pretend to be good guys to stay bad, before discovering that they were really good guys deep down, and here, it's a bit the opposite. Under threat, they pretend to have become bad again, but they're trying to do good. That's the heart of our concept, so yes, we're still exploring this question." -Director Pierre Perifel

About the sequel opening with a car chase, paralleling the first movie

"It's kind of like our trademark. That 200 mph opening, that kind of breathless race, that's what made us want to tackle that kind of action cinema. Personally, it's one of my favorite things, super-cool car stunts. Plus, here, it's kind of presented as the origin story of the new car, we're going to see how they got this particular car, and how it became a key element of their group. In a way, the car is also part of the Bad Guys. We started off with a bang, and here, it's a bit the same, but more in-depth since it's also going to reveal something about the team." -Director Pierre Perifel

About the sequel being bigger than the first movie

"Absolutely. We like to dissect this genre, play with its codes, and the opportunity to continue the story of the Bad Guys gave us the chance to continue on this ground. But a little differently at the same time. The first was a heist movie, like Ocean's Eleven, whereas this one, we're more into espionage.This "bigger, faster, stronger" side is possible now that the public already knows our Bad Guys. We can dive into the action even faster and offer something new too. Different locations, for example, but which are not chosen at random, which must help prepare the action scenes. It's really something borrowed from spy films, that." -Director Pierre Perifel

"It's more like Mission: Impossible, actually. We were very inspired by their way of setting up action scenes. From movie to movie, everything is bigger, and for it to work, you have to think about all of that in advance, organize the general construction of your feature film well." -Producer Damon Ross

About the French dub of the movie

"As a French man, I wanted to get involved in the dubbing of this version, and even in the rewriting of certain lines. A good French version is so important, especially for a family film like this, where children are not going to come and discover it with subtitles. I have always been sensitive to successful dubbing. So yes, it is important to me to supervise this aspect as well, but I can't announce anything for the moment, it's still too early." -Director Pierre Perifel

About the comparison to Zotopia

"The Bad Guys is an adaptation of the 2015 books (by Aaron Blabey, who is also the co-writer of the movies), from an already rich universe, but which only featured animals. We made the choice, quite early in production, to mix our anthropomorphic animals and humans, so that they would cross paths in the same city. This coexistence, seemingly insignificantly, allowed us to limit the comparisons between the two" -Damon Ross

Interview from Premiere (translated from French).

Bonus: about the animation style.

[ananke-xiii]

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!

[saerins]

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.

[petruchio]

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)

[liauditore]

The thoughts, hand em over. (No pressure but I wanna hear em :D)

oh god what have u done.

context.

OK SO,. (BE WARNED THIS IS LIKE. REALLY LONG AND BRAINROTTY.)

first off i must put here as per the law i am not in fact armchair psychoanalysing mc youtubers grian and mister scott S. major this is me looking at the 3L series as is it were a performance and their actions in said series as characters and blah blah blah so on so forth this is Fanfiction and Shipping and woowoOOwoo We Are Being Sillyyy with a miku song.

i'm gonna infodump abt a bunch of stuff including some heavy topics like emotional abuse and dubcon (NOT in detail the song just has those vibes)

so uh if you're reading this for Some Reason know that 👍

ALRIGHT WITH THAT OUT OF THE WAY Vampire the song itself is (at least my reading of it) a song about a toxic relationship. The singer is very much not a Good Person and the main chorus is just them disregarding their partner's needs and pushing the relationship even further.

But the singer isn't completely irredeemably evil, since they really do love the person they're abusing (in a childish sense of the word love, anyway) and seem to be at least acutely aware of how they're not really a good person.

But of course, they "eh whatever" these self-reflections pretty fast cus they're having fun with the relationship. This specific set of translyrics reads to me like a bit of self-victimizing as well like "oh, I'm so tortured by feeling like a bad person because of the way I treat you. But I love you so you don't really have a choice but to forgive me."

Speaking of translyrics this is where Micchi's version comes in. While I ADORE Rachie and Anthong's version I do have some nitpicks..? And one of those that I am unreasonably pet peeved by is this right here.

In the original JP version, the lyric is simply kimi mo vampire, meaning simply You're (also) a Vampire. It's alot more obvious a change and hits harder imo than "My little Vampire" which still puts the singer in the position of power.

Micchi's version of the lyrics on the other hand stick a lot closer to the original

And I might just be imagining this but there seems to be a switch in the power dynamic in this version as well. The singer is now inviting their partner to be "rough" with them and the repeating mantra of "you're the ONLY ONE for me" sounds more desperate than anything else.

Micchi's lyrics in general are a bit more wet cat coded. I still prefer Rachie's as a whole but Micchi's singer definitely seems to be more regretful of what they've done and blame themselves for essentially turning their partner into a different, more hostile person. (aka turning them into a vampire lol)

In a lot of ways the vampire metaphor is really unsubtle. Bloodsucking parasite attaches themselves to someone and turns them into a bloodsucking parasite as well.

SO HOW THE FUCK DID I GET GRAIN AND SCOOTER FROM THIS WELL.....

When I think about 3L one of the main things that lights up the lightbulb in my mind is the parallels between all of the four "main" partnerships, with Renchantyn vs Desert Duo as the most obvious comparison point but I think they all mirror and subvert each other really well.

Grian/Scott are like birds of a feather to me in a similar sense that Scott/Cleo are, but while Scott and Cleo have this mutual understanding with each other with Grian it's a bit more complicated.

I CAN't. FOR THE LIFE OF ME. FIND IT AGAIN bUT there was a bit in Third Life when Scott said to Grian "and maybe once our husbands are dead we can be free" and Grian laughs and that basically inspired this Whole Thing 🙏🙏

(an apology for all the wholesome flower husbands shippers who i know follow me cus im about to unleash my full toxic yaoi adaptation of them) (desert duo fans from what ive seen are already insane so you're okay)

In my own mind Grian and Scott are both somewhat.. manipulative? Might be a bit harsh of a word? But they definitely play to survive more than some of the other people stuck in there with them. (cleo too but she sucks at it and she can get her character analysis essay next week)

At least in my view, their partnerships with Jimmy and Scar respectively were born more out of a need for safety in numbers and to get someone to essentially keep them safe until they're no longer of use. Grian definitely felt bad about creeper-ing Scar in the first episode but I don't think he was quite expecting to spend the whole series in debt to him 😭😭

Scott (like the singer in the song oh my god) isn't really a monster so to speak, just someone who has a messed up view of love. Probably has some sort of tragic backstory that explains the way he is that we'll get to see in the anime adaptation idk. He does care for Jimmy but in like.. the way someone might care for and love a pet. You LOVE your dog to fucking death but you wouldn't like.. trust your dog with taxes or respect its autonomy.

also these lyrics are both hilarious to me considering the uh current brainrot.

Grian on the other hand probably Wants to be like Scott and be able to have someone wrapped around his fingers like that but he can't cus it's Scar not Jimmy and he's Grian and not Scott. I imagine he'd get tired of Scar's shenanigans when he's with him but as soon as he's left the room it's all why's it so quiet D: where's scar D:

I like to think that everytime he THINKS he has a handle on Scar finally and can actually stand a chance to survive this thing Scar does something completely unhinged off the wall and Grian's like WAIT WAIT WAIT NO

basically he gets way too attached and doesn't like it and to make it worse he has no idea wtf is going thru Scar's head👍

SO when they eventually team up I think Scott and Grian would have this little "wink wink nudge nudge they don't know" kinda thing going on.

and then in my little fanfiction world somewhere along the line Scott would end up sensing that Oh, We're actually not exactly the same.. interesting.. and kind of start looking at Grian with this sense of amusement/pity cus aww, look at you getting all attached to the person you were planning to betray, that's so cute and Grian would see the worst of himself reflected back to him via Scott. It ends up strengthening Desert Duo's relationship if anything else.

Of course then Jimmy dies and Scott's emotionally destroyed by it but he's still like.. skirting around it. I'd like to think he gaslights himself with any genuine Emotions he has cus like.. he knew this was coming, this is all according to plan, so why would he feel anything for him now that he's gone?

While Scott gets some time to come to terms with the fact that he actually cared about Jimmy too late for him to repair their relationship Grian and Scar end up punching eachother to death in a cactus ring. The End 👍

tl;dr i need to pick up writing fanfics cus oh my god

[voidpacifist]

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.

[2maegor2cruel]

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

[zhenjun]

white people, your cosplay is yellowface

Content warning: images of yellowface that may be upsetting below

Note: I have made the decision to remove the images of modern-day cosplayers. I stand by my initial choice to include them, as I believe actually seeing images of modern cosplay side by side with “real” yellowface was essential to understanding the point. However, this post has gotten much more attention than I ever anticipated. I had, at the time of making it, fewer than 30 followers.

In addition to harassment from sockpuppet accounts, assertions that my opinion on racism is less important because I am in the diaspora, misinterpretation about what this post was initially about (several people claimed cultural appropriation), threats to report and suspend me, and, apparently, discussion on twitter, for my own mental health, I am taking these images down.

I will no longer be responding to criticism or questions on the post, but I will happily answer DMs or asks on the subject. If you disrespect this or try to start more discourse, you are getting blocked, not because I want to silence your voice, but because I am a real person who can choose not to engage with people for reasons as seemingly unfair as my mental health and not wanting to continue filling my blog with the same post that honestly is upsetting for me to look at (as I already stated within the post).

If you have been blocked by me it is either due to disrespect and/or some form of unrelated drama due to how I like to interact with fandoms (i.e. ships like Ch*ngxian, Xu*xiao), not because I am trying to silence you. As I have so few followers, I am sure you can make your own post and gain even more traction than I did.

If you are white, please stop cosplaying MDZS/TGCF characters. It often looks like/is yellowface, and honestly there’s no way to respectfully do it when these media are based so heavily on Chinese culture. I’ll try to sum up why these fandoms need to be more mindful. You can find links and citations at the bottom that read best on my desktop blog theme.

The goal of yellow face in the past wasn’t always to look “authentically Asian;” white directors, actors, set designers, and playwrights set out to use what pieces of East Asian culture they found most inspiring, fun, cool, violent, or backward. Sometimes, white people had "good" intentions" with their use of yellowface and were not "trying" to demean our cultures, but the practice itself did so regardless.

To summarize, white people of the past did yellowface to erase our identities, take aspects of our culture that they liked, or ridicule us. Most modern-day cosplayers are doing the first two.

Below are examples of early Hollywood yellowface and modern-day theater, as well as modern-day cosplay:

[Previously pictured was a white Xie Lian cosplayer who was very receptive after seeing this post and has since removed these images from their social media. If you happen upon any of their cosplay or other social media, please do not send them any hate.]

As you can see actress Katharine Hepburn in “Dragon Seed”[1][2] is in very traditionally inspired Chinese clothing. The previously pictured Xie Lian cosplayer was in a similar hat and wearing white robes. They both had some sort of eye makeup; Katharine Hepburn darkened her hair for the role while the cosplayer was wearing a dark-brown/black wig.

Of note, the character Katharine Hepburn plays in "Dragon Seed" is supposed to be positive; an adaption from (white) author Pearl S. Buck's novel about a brave Chinese woman who stands up to Japanese imperialism. Like modern day cosplayers of Chinese media, just because the white people creating this film did not intend to be harmful does not change that it was yellowface and racist.

[Previously pictured was a before and after picture of a white Xue Yang cosplayer with blue eyes, brown hair, half of which was dyed blonde in the before image. In the after, they were wearing a long black wig, heavy eye makeup, newly shaped and darkened eyebrows, and robes made to emulate CQL in warm lighting]

Here are before and after pictures of actress Katharine Hepburn in 1944[3] and, previously, was a white Xue Yang cosplayer in 2020. Both had altered their eyes and eyebrows as well as donned black wigs or darkened hair.

[Previously pictured was a Jiang Yanli cosplayer in a black wig and robes meant to emulate the donghua]

Yellowface does not always involve modification to the eyes. In these two images, neither Mary Pickford in Madame Butterfly[4] nor the previously shown modern Jiang Yanli cosplayer have done anything noticeable to shape their eyes. They were, however, both wearing black wigs with traditionally inspired outfits. Jiang Yanli wore a modified version of Tang Dynasty fashion.[5]

[previously pictured was an image of a Wei Wuxian cosplayer with face powdered white and rouge around the eyes. Their eyes were still blue as the Madame Butterfly’s were on the left, and they were wearing a long black wig as well as robes designed to emulate his. This image has been replaced and amended with an additional example of modern theater; the production of The Mikado where one actor is wearing a black wig, the other a Japanese inspired hat, and both are wearing Japanese robes]

The final comparison was an example of a stage actress from the 2015 Fargo-Moorehead Opera production for Madame Butterfly[6] on the left (the earlier movie is an adaptation of the play). [This image was previously erroneously attributed to the Knoxville Opera which faced backlash for their production as they had an all-white cast depicting actors in yellowface in 2019.][7]

Honestly, these images just had a strange similarity to me so that’s why I chose to put these two together. Most importantly, was the similarity in makeup, hair, and East Asian clothing. Though the image is not there any longer, but just google Mo Xuanyu cosplays and ask yourself, if you didn’t know the fandom, would you be able to spot the difference of which one is supposed to be worse?

The new image is just another example of modern yellowface in theater, where the actors do not necessarily wear extensive eye makeup to emulate East Asians but, much like modern cosplayers, nonetheless are trying to look like the Asian characters they play in a Seattle production of The Mikado.[8]

As you can see, it’s pretty sad and disturbing to see how the rise of East Asian media is creating a new modern wave of yellowface. I think white people tend to think that black/brown/yellowface is only about darkening the skin, but that is just not what many depictions of yellowface have been for East and Southeast Asian people.

I know a lot of people recognize this is wrong and I appreciate those of you that do, but if you didn’t recognize the past parallels, please read up on the links below! Researching this was honestly triggering and emotionally taxing and caused a mild breakdown, so if you clown on this post you’re getting blocked.

Despite the post losing effectiveness to an extent from taking down the modern day photos, I suggest a quick google search of cosplays from the series during/after reading this. And if you don't agree with me, feel free to block and don't send more hate to me! I'm not trying to get into fights. I just wanna feel like I have a semi-safe space in the fandom but if this annoys you, it's better to just block me.

HISTORY, Casting White People in Asian Roles Goes Back Centuries[↩︎]︎

Youtube, Dragon Seed (1944) Trailer [↩︎]︎

NBC News, 'Correcting Yellowface': One Woman's Project to Fix Whitewashing[↩︎]︎

IMDB[↩︎]

Stony Brook University, The Influence of Chang-An Culture to Korea and Japan: Cultural Diffusion in the Glorious Age of Tang Dynasty[↩︎]

Howard Sherman, Yellowface Bait-And-Switch With ‘Madama Butterfly’ In Fargo[↩︎]︎

OnStage Blog, Knoxville Opera Forgets It's 2019 and Opts for Yellowface for "Madame Butterfly"[↩︎]︎

Seattle Times, The yellowface of “The Mikado” in your face[↩︎]︎

[beccanoodles]

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!

[arbitraryregistry]

Milk

She wishes to say that the day started like any other, but that would be a lie. When she slammed the snooze button that morning she did not know it would be the start of her demise. She could hear her breathing becoming more labored, knees screaming at her to stop, but her head sending her an urgent KEEP RUNNING. Lucette knows she longs for an adventure in her life. Something she could pass on to her children. Something that would turn her into a legend. She did not think that would cost her a life. That of her own.

A bolt of purple lightning nearly zapped her out of existence. Someone was wailing in agony nearby, but she did not stick around to see who. Maybe it was her. Everything was blurry. Lucette feels the killing intent engulfing her from behind, the smoky form of this monster spilling into her peripheral vision. She was an inch away from becoming charbroiled at 8 AM on a Monday.

If she had not taken the bus today, she would never meet Rocco this early. They would not have had to walk to school together. They would never talk about those darned flavored milk.

None of them knew Rocco could conjure a three-meter shadow monster out of his chest after she casually rejected him. The bright electrical zaps were becoming more frequent. Her chances of surviving resurfaced when she saw the school gates ahead. The wards would nullify Rocco’s erratic powers. Just as she was about to cross the threshold, there was a deafening hum. The last thing she remembered was the color purple overcoming her vision.

———

Commentary:

I have been seeing a lot of fantasy fiction lately, so I decided to try my hand at writing a few lines. I feel that it’s harder to do especially when I’m adamant about using in-media res and keeping in mind Davis’s style. It was fun because a lot of action was going on, and I tried to focus the descriptions on the action since it is a limited 3rd person point of view. I have two drafts this week, one depicting a “normal” day and this is the other one. I do not know why I did this, but it helped me with my tendency to over-explain plot points and accidentally spoil the readers.

Responses from others:

I know writing in a third-person point of view can be quite daunting, but I truly think you excelled at the way you were trying to convey your narrative. The choice of words and language was executed profoundly. I really enjoyed reading your piece from the beginning right till the end.

What an entertaining read! Your technique of parallel drafts sounds interesting, I am intrigued by what the "normal" draft is like. Did you find that juxtaposing "normal" and "tension" helped with creating and balancing the tension in this piece?

My response: Yes! It is surprisingly helpful in terms of creating and balancing tension, and with the comparison, I can also see where I can put the "conflict" in this piece. I do feel that I have to reduce most of the background information about the characters' dynamics, but I think it was worth it because I wanted to focus on the action rather than the plot this time.

Your depiction of action is phenomenal, you always create dynamic plots, filled with action, tension, and the feeling of an ominous situation from fantasy. It's lovely to see how you push the limits of your imagination with monsters, hurling alarms, and superhumans - it's very much your vibe, keep it up!!

the teacher: It is good to read that you're trying new things! From the start, I like how your story begins with the quintessentially bland 'Milk'. I don't know if your aim is to productively wrong-foot or leave the reader with the back-drop of pure white onto which you superimpose the 'purple lightning' and 'color purple', but the effect is clever and memorable.

Now a few little pieces of advice:

There is a bit of a disconnect between the 'snooze button' and 'knees screaming' and 'KEEP RUNNING'. Might you fill in the gaps of logic there? That that intense activity is followed by the reflective 'Lucette knows...' possibly makes it all the more confusing.

Similarly, with 'A bolt of purple lightning...' to 'Rocco' and 'the bus'. I appreciate the mystery and like when a story makes me figure things out, but this is quite a challenge!

When you say 'None of them knew...' this means, of course, before this started happening to her? So this is habitual? Just a bit of context to answer these questions will allow you to imagine freely within the contours of the story.

If Lucette is still in school (we don't really know what age she is), would she be thinking about 'something she could pass on to her children'?

In paragraph three, 'those darned flavoured milk' is grammatically incorrect. Please fix.

I think you have the bones of a good story, with interesting characters in a world here. That the significance of the 'milk' is left unanswered keeps me wanting to read on and learn that detail.

Again, nice work. Good luck with future iterations!

My response: Thank you for the amazing feedback! I will definitely keep these in mind when I re-write this piece, I have become fond of it for some reason. Reading it now, I do feel the gap in logic everywhere, I think it was because I had two drafts while writing this piece, and some details (admittedly crucial ones) got lost in the process.

Milk: Prelude

The life of an average teenager is not an easy one. In every coming-of-age narrative, life is never this simple for the main character. Sometimes it is a love rival, a serial killer on the loose, or a monster from an ancient scroll. Her adventure could start any day now. Lucette believes this with all her heart. There must be something more outside of the compound. Better yet, there must be secrets inside this very compound.

She biked to school with a melancholic heart that chilly morning. The birds were singing in minor while dry leaves fall onto damp concrete without much fight. Lucette sighed as she parked her bike alongside its countless twins, wishing she was a heroine on a quest to a dragon’s island instead. In a world full of mindless uniformity, Lucette longs to be a silver spiky-haired protagonist. Instead, her hair was straight and black just like everyone else’s. Her face and skin were spotless, her uniform neatly tucked in, as it should be. She was the very definition of a perfect youth. A smile was tugged onto her lips automatically as she passed the students and teachers in the hallway. Everyday was the same, peaceful charade.

A small bottle of melon-flavored milk was on her designated desk. It will be chocolate tomorrow, and strawberry the day after. The Morning Milk Promotion in their canteen has a strict schedule. Through the classroom window, she could see the school’s athletes cooling down after their morning practice. The bottle opened with a distinct pop. A sound she associates with her childhood friend Rocco because they are the ones leaving milk on her desk every morning. She could not remember when it all started. They never talked about the milk. Not when they biked home, not when they hang out on the weekends, not when they worked the night shift at the local minimart.

[fishyfod]

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.

[ananke-xiii]

SPN Comparisons with novels, tragedies, myths and other stories that I don't totally vibe with:

"Widower arc" and Romeo and Juliet: I feel like this one is a slippery slope. As I've said, I see the theme and the movie reference but I've found out a more compelling way to see that arc, a way that's profoundly related to Dean and Castiel alone which I find more interesting. Cause if you agree with the Romeo and Juliet of it all in "Advanced Thanatology" then you will also see it in "Red Meat" where we even have Billie as a reaper to complete the death theme. Which means you either acknowledge that both Sam and Castiel serve as Juliets to Dean's Romeo and/or acknowledge that Dean's suicidal tendencies have nothing to do with a specific character per se but with the idea that Dean can't find meaning in himself without someone else. And I tend to agree with the latter because, for instance, "Regarding Dean" is, to me, precisely about that: everybody is regarding Dean but how does he regard himself? I don't see the episode as sad as many people do, I think it's actually hopeful in the sense that Dean accepts the fact that he needs to work on himself, takes responsibility for his past and decides he wants to move on. It's a rather positive episode although it is bittersweet like every moment of growth is.

Romeo and Juliet is pertinent to Crowley and Dean as well: Juliet's Crowley's pet just like Dean was the domesticated "Queen" Crowley wanted to rule Hell with. A queen whose death he had a hand in and who resurrected transformed into the Queen of the Underworld, a title which Dean rejects. This time the association is indeed sad, just as Crowley and Dean's summer of love is. If the comparison must be done, spn writers seem to say, it will not be about the commercialized, uncritical romantic idea of love associated with the play.

Finally I don't like the comparison because Cas, Sam and Juliet the Hellhound (lol) didn't fake-die voluntarily, not just straight-up died to avoid something or escape from something. They unfortunately succumbed to their opponent and this is no small detail that can be ignored, imo ( I love symbols and evocative images but I am also a very literal person, I know, I am a living contradiction, blame my sun squaring my moon).

Castiel as Don Quixote: if anything Metatron is the kind of guy Cervantes makes fun of in the Don Quixote. It's him who uses literature as escapism and it's him who wants to write a story where he is the hero because he wants to walk in Cas' trenchcoat. Metatron's windmills were a bit more real because Heaven did have a beef with him, still he had to go ahead with that, admittedly funny, "X" façade that literally nobody asked for. Metatron implicitly comparing Cas to Don Quixote in s10 revelas more about him than Cas (Metatron was, after all, the main character of "Meta fiction", an episode where he literally creates illusions for Cas to believe).

s6 Dean and Cas as Orpheus and Eurydice: I don't see it at all. Apart from that one shot where Dean turns and Cas is still in the holy fire cycle the parallels don't parallel like at all. It's visually nice because it shows how Dean is still conflicted after everything they've been through and the whole Godstiel's arc will indeed change his relationship with Cas forever. But, like, I don't see Orpheus's myth at play at all.

Sam and/or Dean as Christ figure and/or sacrificial lamb and/or scapegoat: now this is where I have to come out as born and raised Roman Catholic cause this is all about redemption and salvation and, from what I've gathered, Protestants have it worse. I still need time to process all this but I suspect there is something at play that doesn't add up. Christ, lamb and goat all have in common one thing among many: the concept of sin. Specifically the concept of humans as sinful creatures that must be redeemed. Now, this is not Christ's sin or the lamb's, they act as conduit for the salvation of others. So here's my problem with these symbols in SPN: what's the sin in this story? I mean, the original human sin that must be redeemed? It seems to me that both Sam and Dean don't redeem other people, don't really save other people but themselves. They sacrifice themselves to redeem themselves of what they think it's their sin. It's, again, the family business: hunting things and saving people which basically means killing monsters and save people from death and apocalypse but not sin. How can one character be a Christ figure if all they(try/want to) redeem is only their own (perceived) sin? And how does a Christ figure prevent the Apocalypse while Christ himself very much brings it about? Is Apocalypse the sin? But then it's the angels' or god's sin, not the people's. Christ and the apocalypse are very much connected by the concept of resurrection but characters like Sam and Dean very much stops at the symbolical crucifixion/sacrifice aspect of Christ story. They went very close in s13 with the Second Coming of Sam Winchester via Lucifer's grace in Apocalypse world (!!!!) but it really stopped there.

Now I enter a story pov not a religious one but there is the whole "willingness" towards sacrifice that must be studied, really, cause no lamb or goat actually wanted to get killed (I personally would argue Christ too with the whole "my god why have you forsaken me"). They got CHOSEN and here we are again with the "destiny vs free will". Grrrr.

It seems to me that there's a certain "cult of death" at play throughout all 15 seasons of SPN which makes me think that I really need to get my hands on Eco's essays about heroism and fascism.

Okay my brain hurts now but I'm sure I've got more somewhere.

[goodqueenaly]

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.)

[musicalgoats]

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.