#and it's not something you can demand other fans acknowledge as the true canon

[whetstonefires]

I’ve decided I can’t healthily reblog that one Jason post again, for everyone’s sanity, but op’s most recent reblog was both highly illuminating and infuriating--and I mean that on two different levels; there was some really good explication of perspective and how we’re missing each other in the dark, but there was also more of the stuff that drives me out of my skull.

So, I’m going to make my own post, which can be engaged with at will, rather than coming right to op’s house.

-

So, as I’ve mentioned, my biggest issue with a lot of a specific subtype of Jason arguments is they devolve really quickly into the insistence that he is owed anything by anyone in his family besides Bruce.

He’s not. That is just so, so incredibly important to me.

I want to talk about why, but I’m not going to because it’s way too in-depth and personally triggering a subject for me to fit a full breakdown here or to risk having it brushed off, so I’m leaving it as a strong assertion of personal opinion. Maybe I’ll come back to it at some point.

More germane to the inciting reblog...I also don’t think they, the batfam (specifically the batboys because DC never let the girls in on the game despite how much they should have, probably because no matter whether they got beat up or successfully deescalated, they’d ruin the dramafest by tipping Jason’s arc out of its toxic loop) could have helped him by approaching him in a ‘better’ way.

Partly because they did try--people will dismiss that as not counting because it ‘seemed manipulative’ but like. That’s not only textbook abuser excuse language to tell someone that doing exactly what they wanted still deserved punishment, there is literally no way people with no existing positive relationship could approach someone whose incredibly toxic behavior they are morally obligated to prioritize changing without coming across as having an agenda? How were they meant to possibly avoid that?

Especially when he had already approached them with violence and not signaled any intent to stop, so it would be insane to have their guard totally down?

(Like. Even Bruce being given actually good writing would have been pretty cornered into either physically containing or emotionally attempting to persuade him into doing a different thing, and that’s Bruce.)

But mostly they couldn’t have gotten different results with a different approach because they were his triggers. Their presence made everything worse. It provoked episodes. There was nothing they could have done differently to get a better response, because one of the most reliable triggers for his mental health issues and violent coping mechanisms is the batfam.

Is Batman and Robin. (Or was, in the relevant window. He’s mostly going by a different playbook since Flashpoint.)

Precisely by being his family, they were rendered incapable of giving him what the Outlaws eventually did, if you treat preboot and nu52 as being in the same continuity, no matter what they did or said.

Which all the more means that every assertion that the family (minus Bruce, because of some shitty drama-seeking bullshit that I hate but it’s canon so people who like it have the right to use it as they wish) treated him badly, and should have treated him better and then things would have been better...

Always sounds to me like an exercise in victim blaming.

Rich with what would be gaslighting, if it was said to rather than about them.

Which in turn triggers the fuck out of me, though luckily unlike Jason I just get passive-aggressive on the internet by accident, rather than stabbing people in the chest for saying no to me and waiting for their heartbeats to stop, and then grinning real big.

-

And that moment of drama I just called back to ties into another really important reason that, in spite of how much I love him, pro-Jason arguments in this mode just fuck me up, one that doesn’t connect to my personal hangups.

Which is how this approach tends to argue for Jason being entitled to the utmost gentleness and care and respect for his needs, and opportunities to change without being coerced or contained or shamed or accused, and...

But will turn around and in the same breath brush away him murdering criminals as a well-intentioned action to improve the world, out of concern for the harm they might do him or others, even if it maybe isn’t necessarily right.

Will treat his crimes as details that have no real bearing on how people ‘should’ react to him. ‘Should’ being defined wholly in terms of his experience of the world.

Dude not only takes hostage and violently assaults Robin and shoots a ten-year-old near the heart, he slaughters low-level drug dealers and mob enforcers, people who are just small cogs in a machine whose evil only very arguably exceeds that of extraction capitalism, who in the former case may not have committed any violent crimes themselves ever in their lives.

People who have families and dreams and mental health conditions and traumas of their own.

He murdered everyone eating in Blackgate cafeteria and Blackgate isn’t some special, murderers-only facility with no, like, weed possession felons, for example. Even if it was, some of the other convicted murderers probably had worse childhoods and less control of their trauma-driven violent episodes than Jason.

Some of those people he kills might have lived in the same alleys as him at the same time, and the break they got to get out of there was a job in organized crime, rather than an adoption offer from a millionaire, and later a training subsidy from an assassin princess.

And somehow we are meant to be comfortable accepting that they deserve death. All of them. Somehow intervening non-lethally to prevent him from killing more of them is framed as a moral cruelty roughly equal to his personal, targeted assaults on children. His right to not be forcibly remanded to mental health treatment outweighs their right to live.

Because. They’re just. Scum.

And this, to me, represents a willingness to disregard the human rights of some people, while at the same time elevating the individual rights of some other person above every other moral good.

And that, on principle, upsets the hell out of me.

Where is their pity, their extenuating circumstances? Their acknowledgment that violence and rejection is not the answer to someone’s trauma-driven coping strategies?

How can ‘criminals’ be grounds enough to sacrifice people’s right to exist, while Jason--a serial killer and mass murderer both by any measure--deserves not only life and liberty but every good and kind thing? How can both these ideas exist together in the same space?

I can’t do it. I can’t make any sense out of it at all. For Jason to be more sinned against than sinning in relation to his family--to have had the right to be met with endless gentleness and patience rather than ever violently opposed or rejected, even leaving aside his personal treatment of them--the lives of those who commit violent, criminal acts must be disposable things. Easily traded away.

But then by that same cruel metric he, too, becomes a disposable person.

And I do not believe in throwing people away.

[heart-forge]

and like related to the last reblog, I think marketing RPGs for a broad and generalized audience (rather than a hyperspecific audience that's here to play something like morrowind or a pathfinder-based game that require you to keep track of things separately from the UI) has kind of made it difficult for players to:

differentiate between genres, as many RPGs overlap too generously with FPS, and FPS try to gain an audience they aren't interested in catering to by adding RPG elements, to say nothing of something like Assassin's Creed which started as an extremely on-rails strategy-based narrative game and then slowly started adding RPG elements and open world elements...so of course some more hobbyist-minded, casual, or even just those that don't consider genre to be inclusive of game mechanics, players jump from game to game and are hooked in to experiences they don't really like because it's just not wholly what they're looking for. DA fans and ME fans have something in common, whereas AC Odyssey fans and DA fans might clash more strongly with each other's genre. Dedicated AC players might find DA combat boring and overly simple, repetitive, lacking strategy elements. DA fans might find their RP capabilities to be severely limited. These aren't actually FAULTS of either game, but they can be presented as such.

know what to expect at all. AC Odyssey was marketing made a big deal out of the romance system which had never existed in any prior game, out of the RPG elements, out of the ability to choose your gender....which was a big deal within their own community. for DA players approaching the game because they heard RPG elements, there was disappointment: the romance system wasn't robust and had no effect on the story, the main plot line stopped being important once it was over despite the potential presence of your family in your life, and your ability to choose how to shape events wasn't on par with a game built around an enormous branching narrative system.

so, fans of dedicated RPGs might expect more games to acknowledge and include their RP choices, even though these games aren't built to care and are largely built of an audience looking to 100% stealth a level. the addition of RPG elements could be annoying to players who are looking for a min-max combat experience, which is what makes more modern TES games frustrating for the old guard who want the same kind of extremely granular lore-based world building of something like morrowind, which is less approachable to casual players who want to be able to experience a limited story where they know their role and can play it without a master's degree in the daedric language.

a lot of the complaints or the wishlists of people I see in the tags for ESO, especially as TESVI is more and more obviously a total hypothetical at this stage and more fans are seeking out new content despite the intimidating MMO aspect, are wildly unrealistic. a large scale npc affection system isn't feasible: they have the companion system now, but even my wildly unrealistic pipe dream of them adding npcs to the companion system is a little silly (although I maintain that it would ultimately be profitable). it's based, however, on their love for a different genre of game that has the same core concept as this MMO. no, the game can't keep track of my minute character choices or have wildly altered world states from player to player: if you want something like that, then you need a contained singleplayer experience.

so I guess this is just to say that demanding ultimate canonical power as a player is wildly unrealistic, not fun, and mostly the domain of people who have trouble accepting things as real without some authority over the decision, but MCs can absolutely have character arcs even when the game never acknowledges it. that doesn't make it less true: the game just has to avoid doing anything to contradict it, and even then, the player has the power to ignore AND flesh out a lot of stuff. it's why the old fandom was less interested in canonical, creator-acknowledged facts: because nobody needs authority to imagine something.

[leportraitducadavre]

“(Hayate is a good proctor solely for a shy Hyuga heir it seems.)” YAS QUEEN! Call out the Hyuga clan. God, they’re fucking awful and Neji and the other second branch characters deserved better. Konoha ain’t shit. I love your re-readings! Are you re-writing them, btw? Just asking to know if I gotta re-read the ones I’ve read before. You’re reading everyone’s favourite characters to filth, even some of mine, and I’m loving it lol

Lmao.

No, I'm not rewriting them, those posts are simply comments while I re-read the manga, the only ones I'm re-writing as of now is the S//S post, the N//H post, and an analysis I made of Sakura's character and her relationships with Naruto, Sasuke and Ino.

You’re reading everyone’s favourite characters to filth, even some of mine, and I’m loving it lol

I'm not sure about reading them to filth, I'm literally pointing out things that are canonically mentioned. I'm not even exaggerating those readings -Kishimoto made a conscious decision when writing those stuff, fans choose to ignore them in order to protect their faves.

And I'll say this again, you can like a controversial character -that's not my issue. If people like Hinata, I have no problem, but denying core aspects of her character? Stating that she's not part of the Main Branch simply because Hiashi "treats her badly" is the same nonsense as saying "she isn't in love with Naruto''. She has no Caged Bird Seal as everyone does in the branch family, and FOUR jönins jumped down to protect her from Neji, when none of them moved a muscle to save anyone before. If that's not a privileged girl, I don't know what it is.

And listen, Hinata's anxiety/shyness is often presented as arguments to justify her inaction when it comes to her clan's enslavement; if those are valid enough arguments to excuse her deliberate ignorance on the matter (and yes, she ignores her clan's slavery on purpose because she's aware of what's going on, she even witnessed Hiashi torturing Hizashi and acknowledged the real reason why Neji was so mad at her), then those too are equally valid arguments to disregard her both as a possible leader (of her clan) and shinobi:

She can't be a jönin responsible for a squad if she's too anxious to give someone an order and live with the consequences -I'm not even bringing up her incapacity to fight or plan (some people simply doesn't like to be a ninja, Hinata clearly dislikes it, so stop forcing your fantasies on her and obliterating everything she canonically is), but her lack of commanding skills.

And since I’m here, I’ll like to point something out that I didn’t on my “Who’s the strongest kunoichi” post (which I’ll probably add): There’s a relatively constant occurrence in the pro-fandom of the most famous female characters (and no, I do not mean the usual use of pejorative terms like "misogynist" against those who do not match their perspectives, which is also very common); which is the naturalization of the argument "why is it difficult for you to accept that XXX character is inferior?" (of course I’m paraphrasing, but this line -or versions of this line- can be observed in many of their posts/comments).

This is often brought up with the sole purpose of diminishing the “anti”’s arguments against the pro-fan favorite character, or in favor of their chosen character, without committing to the debate and presenting true evidence of their claims (which, unlike those of the antis, are true until proven wrong and not the other way around). In lesser terms, they demand the performance of a specific attitude/introspection that they’re not willing to conduct themselves.

[tobi-smp]

Context: [Link]

@maryqueenofmurder said: ok this is so totally nitpicking and probably incredibly irritating to see buuuuuut… “here’s the truth that a lot of dream apologists don’t like acknowledging: it’s Both true that no one deserves to be tortured And that dream’s actions lead him to the position that he’s in now.”

Actually, a lot of us acknowledge it. Being put in prison is a direct response, pretty much, to the things he’s done. But so many people use ‘karma’ and 'it’s his fault he’s in prison’ to excuse/justify the abuse he was/is put through. it leaves a kind of sour taste in my mouth to see it now because it’s usually followed with the sentiments mentioned above.

dream “apologists” are very, very, very rarely people who think what dream did was okay/excusable. Maybe a few see it from a slightly more justifiable perspective.  but most of us are aware that dream has caused harm, and that he did bad things. I don’t know how many dream apologists you’ve heard from, but most of us are aware of the fact that he’s brought a good deal of what’s happening to him down on his own head.

I personally think that even if Quackity was furious over what Dream did to Tommy, he’s still doing something very wrong. And what I’m about to say is going to sound even more irritating than the previous rant but, Practice what you preach. It’s both true that Quackity didn’t deserve a lot of things he got/will get but they’re also the inevitable fallout of his actions.

And if Dream apologists paint Quackity as the villain?  It’s because they’re seeing/writing from Dream’s perspective. I’m not saying Quackity is some one-dimensional villain. I’m saying he’s definitely an antagonist in Dream’s perspective. It’s just that us Dream Apologists don’t talk about his motivations because they’re irrelevant to the story we’re telling. Plenty of other stories/takes are written like that. And if he is OOC or does things that don’t match his motivations in canon?  it’s just a h/c i guess. or he has motivations you just don’t know them. [End Transcription]

So before anything else, I’m gonna have to ask that if you send me a response this long that you don’t put it in the replies. I’ve never had to ask that before but I’ve also never had to choose Not to include screenshots of what I’m responding to for length before. moreover, it’s much harder for me to know when you’ve finished your point if you’re sending 6 replies in a row as opposed to one reblog (for instance, several more replies came after I’d initially seen that you’d responded). if you’re trying to engage in a direct conversation with me that can’t fit in a couple of replies then just reblog or make your own post and @ me in it, anything but this would be better fadsjkljlkfds.

secondly, you’re right ! this wasn’t an appropriate response to the conversation in question and I’m not certain why you sent it to me.

The first post that I wrote was about how ridiculous I found it that people dance around, ignore, or straight up deny that dream designed and commissioned the prison as it is to hold tommy, and how that fact leads into the prison arc (and the thematic significance of that for both characters and the arc in general).

an anon fixated on a line from those posts wherein I point out the fact that the disc war finale was dream’s downfall stemming from his own actions. the anon disagreed, insisting that what’s happening now is only down to quackity’s desire for the revival book and not anything that dream has done. I got annoyed (because I’ve seen this argument in many forms often used to reduce quackity and his motivations down), so I decided to expand on how dream’s actions lead him to this point and influenced quackity’s actions towards him.

that’s the context of the post that you’re responding to, and you almost acknowledge it too. you point out the fact that I Explicitly stated that Nobody Deserves To Be Tortured, and yet you act as if I’ve excused everything that quackity has done by pointing out the reasons that lead him to take those actions. “practice what you preach” you say, while you insist that dream apologists don’t Excuse his actions while in the same breath making the assumption that I Don’t think quackity deserves comeuppance for his actions based solely on the fact that I insisted that he’s a complex character with motivations driven by revenge for him and his friends.

I think if dream fights back against quackity and sam, if he kills them even, when he inevitably escapes then that’ll be in his right to do so. I also think that las nevadas is going to blow up in his face some day, that the people he manipulated into joining him are probably going to play a part in that, that technoblade and phil are probably going to become a problem very shortly, etc etc etc.

my post was not about how quackity is going to eventually face the consequences of his actions (or how he already very much so has), it was about how dream is Already doing that. I Explicitly condemned quackity’s actions Twice, so why do I have to go in more detail now to appease you? why did you react to a criticism of dream’s actions by demanding that I criticize a different character too When I’d Already Done So?

and while I Am bothered by quackity being misrepresented in fanworks, what that post was in response to is the Overwhelming mischaracterization of quackity in the fandom’s consciousness as a whole. not just for Fun but in serious discourse, meta, and character analysis. he is Chronically stripped of his nuance All The Time. which is what gives value to pointing that nuance out. again, you tell me to “practice what you preach” and yet you’re telling me that I should just suck it up when I character I like is misrepresented while you actively identify with and push for the label of a character apologist.

finally, while it’s easier to use shorthand to refer to a general collection of ideas (and people with similar ideas) within a specific space, that shorthand becomes insufficient when you try to apply hard definitions to it. “us dream apologists wouldn’t do that,” no You haven’t done that. there are plenty of people who self identify with the label who Do excuse his actions, who Do vilify other characters and infantilize his character. they’re straight up common, especially on twitter and youtube. but those things (apparently) don’t reflect You or the people that you associate with.

which is fine, but the problem comes in when we drop nuance. I’ve attributed an action to a group that you don’t agree with, therefore this is read as an attack on you and your standing in that group. which just isn’t true. “dream apologists” are not a monolith, they’re people. and while there are trends that can be observed those trends are going to look different depending on what angle you look at them, and individual people are going to Still Be individual people with unique experiences and opinions.

“dream apologist” is not an identity, it’s not a set of beliefs. it’s a vague group of people that enjoy the character dream from the hit minecraft roleplay “dream smp” who are defensive of his character in one way or another. different people are going to have different associations with that term depending on the different people they meet because those people are going to believe and do different things. making assumptions about the people that you’re talking to based on labels Without a solid definition is not conductive to productive conversation.

you don’t have to defend yourself if I criticize behavior that you don’t do, and you Certainly don’t have defend the honor of a subsection of a subsection of a subsection of minecraft youtuber fans.

[itsclydebitches]

TBH I think the whole "You didn't have an issue with this in 'insert x show here' but you have an issue with it in RWBY? What are you, sexist?" thing can easily be defused with a simple, "How did RWBY present this plot-point compared to the show I like?"

Sure, technically Cinder Fall and Darth Maul are the 'same' character, but how are the two presented in their respective shows? Cinder eats up screentime and none of it goes anywhere and gets frustrating. Maul is a relatively minor villain that had one season's worth of attention in CW and then was the villain of a few episodes throughout Rebels before getting killed off.

The only reason someone would be confused as to why people like Maul but hate Cinder is if they just read the two's respective wiki pages.

Really the whole "Your issues with RWBY are just subconscious misogyny" is just some people wanting to slap labels onto others so they can feel validated on not agreeing with their opinions.

Generally speaking, I'm wary of any take that boils down to a single sentence, "You're just [insert accusation here]." Not because such accusations are always 100% without merit—with a canon dealing with as many sensitive subjects as RWBY, combined with a fandom as large and diverse as it has become, you're bound to come across some people whose "criticism" stems primarily from bigotry—but because such dismissive summaries never tackle the problem a fan has pointed out. If one fan goes, "Ruby's plan was foolish because [reasons]" and the response to that is "You just can't handle a woman leader," then that response has failed to disprove the argument presented. The thing about "criticism" based in bigotry is that there isn't actually a sound argument attached because, you know, the only "argument" here is "I don't like people who aren't me getting screen time." So you can spot that really easily. The person who is actually misogynistic is going to be spouting a lot of rants about how awful things are... but very little evidence as to why it's awful, leaving only the fact that our characters are women as the (stupid) answer.

And yes, there is something to be said for whether, culturally, we're harder on women characters than we are men. Are we subconsciously more critical of what women do in media simply because we have such high expectations for that representation and, conversely, have become so used to such a variety of rep for men—including endlessly subpar/outright bad stories—that we're more inclined to shrug those mistakes off? That's absolutely worth discussing, yet at the same time, acknowledging that doesn't mean those criticisms no longer exist. That's where I've been with the Blake/Yang writing for a while now. I think fans are right to point out that we may be holding them to a higher standard than we demand of straight couples, but that doesn't mean the criticisms other fans have of how the ship has been written so far are without merit. Those writing mistakes still exist even if we do agree that they would have been overlooked in a straight couple—the point is they shouldn't exist in either. Both are still bad writing, no matter whether we're more receptive to one over the other. Basically, you can be critical of a queer ship without being homophobic. Indeed, in an age where we're getting more queer rep than ever before, it's usually the queer fans who are the most critical. Because we're the ones emotionally invested in it. The true homophobes of the fandom either dropped RWBY when the coding picked up, or spend their time ranting senselessly about how the ship is horrible simply because it exists, not because of how it's been depicted. Same for these supposed misogynists. As a woman, I want to see Ruby and the others written as complex human beings, which includes having them face up to the mistakes they've made. The frustration doesn't stem from me hating women protagonists, but rather the fact that they're written with so little depth lately and continually fall prey to frustrating writing decisions.

And then yeah, you take all those feelings, frustrations, expectations, and ask yourself, "Have I seen other shows that manage this better?" Considering that RWBY is a heavily anime-inspired show where all the characters are based off of known fairy tales and figures... the answer is usually a resounding, "Yes." As you say, I keep coming across accusations along the lines of, "People were fine with [insert choice here] when [other show] did it," as if that's some sort of "Gotcha!" moment proving a fan was bigoted all along, when in fact the answer is right there: Yes, we were okay with it then because that show did it better. That show had the setup, development, internal consistency, and follow through that RWBY failed to produce, which is precisely what we were criticizing in the first place.

What I also think is worth emphasizing here is how many problems RWBY has developed over the last couple of years (combining with the problems it had at the start). Because, frankly, audiences are more forgiving of certain pitfalls when the rest of the show is succeeding. I think giving a Star Wars example exemplifies that rather well. No one is going to claim that Star Wars is without its problems (omg does it have problems lol), but there's enough good there in most individual stories to (usually) keep the fans engaged. That doesn't mean that they're not going to point out those criticisms when given the chance, just that disappointment isn't the primary feeling we come away with. Obviously in a franchise this size there are always exceptions (like the latest trilogy...), but for most it's a matter my recent response to The Bad Batch, "I have one major criticism surrounding a character's arc and its impact on the rest of the cast, and we definitely need to unpack the whitewashing... but on the whole yes, it was a very enjoyable, well written show that I would recommend to others." However, for many fans now, we can't say the same of RWBY. Yang getting KO'ed by Neo in a single hit leads into only Blake reacting to her "death" which reminds viewers of the lack of sisterly development between Yang and Ruby which segues into a subpar fight which messes with Cinder's already messy characterization which leads to Ruby randomly not using her silver eye to save herself which leaves Jaune to mercy kill Penny who already died once which gives Winter the powers when she could have just gotten it from the start which results in a favorite character dying after his badly written downfall and all of it ends with Jaune following our four woman team onto the magical island... and that's just two episodes. The mistakes snowball. RWBY's writing is broken in numerous ways and that's what fans keep pointing to. Any one of these examples isn't an unforgivable sin on its own, but the combination of all of them, continuously, representing years worth of ongoing issues results in that primary feeling of, "That was disappointing."

Looking at some of the more recent posts around here, fans aren't upset that Ruby is no longer interested in weaponry because that character trait is Oh So Important and its lack ruins the whole show, they're upset because Ruby, across the series, lacks character, so the removal of one trait is more of a problem than it would be in a better written character. What are her motivations? Why doesn't she seek answers to these important questions? Why is her special ability so inconsistent? Where's her development recently? What makes Ruby Ruby outside of wielding a scythe and wanting to help everyone, a very generic character trait for a young, innocent protagonist? We used to be able to say that part of her character was that obsession and we used to hope that this would lead to more interesting developments: Will Ruby fix/update their weapons? Is her scythe dependency the reason why others need to point out how her semblance can develop? What happens if she is weaponless? Surely that will lead to more than just a headbutt... but now we've lost hope that this trait will go anywhere, considering it has all but disappeared. Complaints like these are short-hand criticism for "Ruby's character as a whole needs an overhaul," which in turn is a larger criticism of the entire cast's iffy characterization (Who is Oscar outside Ozpin? Why was Weiss' arc with her father turned into a joke and concluded without her? etc.) and that investment speaks to wanting her to be better. We want Ruby to be a better character than she currently is, like all those other shows we've seen where the women shine. Reducing that to misogyny isn't just inaccurate, but the exact opposite of what most fans are going for in their criticisms.

[raviposting]

Okay so I’ve seen a lot of conflicting responses to Buddie this episode, from it being clear to people that they’re getting together, to thinking the writers have unintentionally messed things up to thinking it’s purely queerbait.

And I get the different responses, I do - tbh I’m somehow in two camps, where I simultaneously believe it’s a slowburn but I also think it’s bait. And those are two very different opinions to have and it got me thinking about why we have these different responses as fans to the possibility of a queer ship (namely two men who would presumably be bi/pan) being canon. 

While people talk about how it’s just people wanting two characters to kiss or entitled fans - sure, that’s existent in every fandom, but I think there’s also a very real fear from queer fans who don’t want to get their hopes up and I d on’t love how the conversation has shifted to calling queer fans stupid for having hope, so I kind of wanted to break it down into 3 aspects that I’ve noticed: 

How writers portray bi characters and why that makes fans hesitant to have hope

What queerbait actually means as a concept

How much “slowburn” has changed in procedurals

1. How writers portray bi characters

Something I’ve thought about a lot are the bi characters I’ve seen on TV - Darryl (CEG), Sara Lance (Arrow), Lucifer (Lucifer), just to name a few. These are great characters imo and I think you’d have a fun time watching but a thing to note is that all these characters were established as bi within the first season of their respective shows and they all fairly quickly fell into a clear romantic ship as well (with the exception of Sara as she spanned multiple shows). It may have taken time for them to say the word bisexual, but it was still clear these characters were queer fairly quickly on. You could maybe argue that Lucifer was a slowburn, but then (while it does not take away from him being bi/pan so do not use this as an excuse to be shitty about him) it’s a m/f ship which is still not the point of my post, to find a m/m or f/f ship that has that same treatment.

Some writers have done it - like for Valencia in CEG, or Petra in JTV - when they saw that fans read them this way, but trying to find those characters were few and far between, and when I looked at popular queerbait ships (whether or not they actually are queerbait) it’s usually ships where the characters are largely viewed as bisexual. A lot of times this also comes with pushback from both straight and to be frank, other queer fans as well. Straight fans don’t always see the signs that queer fans do, so to them a queer character who hasn’t been explicitly clear from the start comes out of nowhere. And what I’ve seen from certain queer fans are concerns that people aren’t appreciating the canon queer characters in a show - and I think there is a conversation to be had about that, but I don’t think the response should also be about then demanding less representation for people either. 

If we go back to 911, people talk a lot about how it has canon queer characters, which it definitely does - Michael, Hen, Josh, Karen, and David are all canonically gay/lesbian and that’s awesome, and we absolutely should talk about fans (white fans in particular) ignoring these characters. It also does not change the fact that none of these characters are bisexual and that is the representation people are looking for. Both of these things are true - these characters are often under appreciated in canon AND people deserve bisexual representation. They don’t contradict each other and to act like one negates the other does a huge disservice.

And even if a character was made bisexual in the canon text we don’t get that slowburn. This may be true for things like Leverage, or LOK, but there’s also a real fact of censorship that affected these shows and the fact that general audiences may not understand the queer text tjat the writers intended. It doesn’t make the writing any less wonderful or the ships any less poignant or beautiful or important, and there’s ofc shows like She Ra that made this more obvious (or the.....mess that was Supernatural that made it. Half true?) but these are still real things that should be acknowledged on why people are so hesitant to call it slowburn - because it’s something most queer fans haven’t SEEN DONE, because m/f ships will get that care for slowburn when it’s done but it’s not done for m/m or f/f ships in that same capacity.

2. What queerbait is

This one’s fun because I don’t think many people understand what it is, but queerbait is very dependent on the intentions of the writers/creators/etc. - which tbh can be hard to gauge, because a genuine intention that ended up not happening or someone baiting fans or someone trying to support all ships and not be rude all have very different intentions but to a fan who only sees bits and pieces of this person on social media, it can be hard to gauge.

Honestly with how much the 4th wall gets broken because of social media now I’d personally say we’ve probably moved into a different definition of queerbait - unintentional vs intentional - because we’re at a point where a show knows what ships are popular and at what level of excitement fans are for it - but that being said, there’s still a clear spectrum of intent. And imo? I don’t think 911 has that intent of queerbait - whether it’s a slowburn or they have a different vision for buddie that I (probably) won’t agree with remains to be seen, but this show usually treats its storylines with care. Are they perfect at it? No, definitely not, I definitely think that they’ve dropped the ball a few times (especially with just how many characters they have lmao), but they also clearly do their storylines with earnest and with genuine care for these characters.

Is 911 getting them together? I want to say yes. I don’t think this was always the plan, just something that they decided along the way, but I also don’t think that changes anything about the ship. A lot of people point to Tim Minear being vague about the ship, or the actors and their interpretations, but 1. We have no idea what they’ve been told about Buddie moving forward and 2. No show runner is going to spoil their show that much. 911 may be keeping quiet because they have a different plan for buddie, sure, but also maybe because they’re still figuring out how exactly they want to do this and/or they want to make this slowburn and don’t want to give it away.

3. Slowburn in procedurals

I feel like this is something that procedurals have started shying away from, but slowburns used to be very common - Bones, Castle, their ships didn’t get together for literal years, but that’s just not something that many shows do nowadays, even for m/f ships. Even things like Deckerstar will have the characters get together after ~3 seasons and explore the relationship onwards, whereas a few years ago, y ou’d pr obably be watching a sh ow and it’d take them 7 seasons to get together. My assumption for this is that shows are afraid  of getting canceled, but there’s been a pretty big shift in getting a couple together after say, 6 seasons to now getting them together about halfway through the show. I don’t think either one is bad or good - in good writers’ hands, either can be amazing - but that shift has made it so that a lot of younger fans in particular, I think, don’t fully recognize slowburn when they see it.

911 as a show tends to run pretty fast - it kind of has to with its depth of characters they have - but when they do have slower running storylines they really do make use of that as well. Bobby’s addiction is something that’s always going to be present in his character, May’s suicide attempt was brought up again front and center after 3 seasons, even Chim’s dynamic with the Lees was brought up again and it was reinforced again that they’re his family. There are certain storylines that have to be continuous and aren’t a one and done type of thing, and that includes Buck and Eddie, especially if you want to establish them as queer to a general audience who doesn’t think about these things.

And honestly, despite my fears, I think they are laying groundwork there. We have Buck learning to be more confident in his relationships, we have Eddie ready to date and learning to follow his own heart, we have Buck and Eddie both establishing that Buck is family and will always be there for Christopher. These are pretty big steps to do for a ship and we’ll obviously have to see how the show goes forward but they’ve already insinuated Eddie and Ana are breaking up, I’m sure Taylor and Buck may last a season and be over, but we do have to see what this next season brings. Do I think they’d say this? No, definitely not.

tl;dr: 

911 is a show with good viewership, but there’s always a possibility they can’t continue with their season and then their promises would feel like a lie. Or they may still be hammering out the details as this season hasn’t been written. Or they may just simply not want to spoil their show,  or they don’t want people criticizing a story before it’s finished, all of these could be reasons. The showrunners, writers, actors, ultimately they owe nothing to us as a fandom to potentially spoil their series, or do something, change it or their schedule for it, and get accused of bait. 

But it also doesn’t change why fans are wary of this storyline either, and I wish people would have more nuance and compassion for fans who are worried about queerbait (whether they think it’s not queerbait and dislike people worrying about it or if they do and are calling people idiots for believing it). There’s a lot of reasons why fans are wary and don’t want to have hope, and it’s not necessarily about 911 specifically as it is a pattern of writing seen in other pieces that have fans worried. These things can all coexist and I wish we as fandom in general could acknowledge that, because pretending that they don’t and criticizing each other/people’s intentions or knowledge when they have certain expectations also doesn’t do much to help.

[love-takes-work]

Steven Universe: End of an Era: Outline & Review

I wrote this review in October but never got around to posting it here

Steven Universe: End of an Era is far more than an art book–it’s also a collection of behind-the-scenes material, stories about the experience of working on the show, planning documents and associated background info, and both older versions of developed concepts AND concepts that never made it into the show. It's a huge fusion of all those elements, and it's definitely an experience!

Some low-quality images are included with my review just to give you an idea of what’s there--it’s not a good substitute for getting your own copy, but here’s a tour!

Like the previous concept art book, Art and Origins, I'll be giving you a description of the structure and overview, while also collecting notable information for fans. Obviously just about everything is "notable" once again, but I'll aim for unique insight or perspective on the main source material, keeping the screaming about everything new to a minimum so you can also enjoy something for yourself if you pick it up. My low-quality photos should prevent people from feeling like I'm reproducing the book in any capacity. Please grab one while you can and have your own experience!

[SU Book and Comic Reviews]

OVERVIEW

The book is titled "End of an Era" for a couple reasons--obviously because it is released after the show has wrapped, but also because Gem history recently ended its "Era 2" and began Era 3--an age of prosperity and peace. The author--the person in charge of adapting all of this information into this slick, readable package--is Chris McDonnell, whose work was previously applied on the Art and Origins book.

The foreword is by N.K. Jemisin, a well-known science fiction author who's a huge fan of the show (and wrote a really excellent series that also has a weird geological connection, by the way).

And the cover, like its predecessor, is shiny and decorated with a beach scene featuring minimalistic characters--this time it's the Gems at night in front of the Temple, and on the back cover is a big pink leg ship in a cross-legged pose.

The interior covers are decorated with tons of amazing sketches of Steven and Connie on the front, and a bunch of Gem sketches on the back. Every interior page that most would leave blank is highlighted with some kind of sketch art or character exercise--it's so much to look at, so much to absorb.

The book is dedicated "For Eddie."

Its organization is different from the previous book in that it shares applicable work in chunks associated with groups of episodes rather than pertaining to different aspects of building the show.

FOREWORD

N.K. Jemisin gives us such a great introduction to the book--apparently understanding very well that the audience of this book is full of animation enthusiasts and adult fans more than it is full of kids, and explaining that bewildering journey some adults had from blowing this show off as a silly kid thing to falling in love with it hard and fast.

The important thing, Jemisin says, is being able to trust a storyteller with your heart. And it was clear to her that Rebecca Sugar knew what she was talking about and was saying important things about identity and the radical power that comes with accepting it and demanding respect.

Important also is how we handle heroes and who gets to be one in fantasy. That's part of the reason Steven Universe speaks to so many--because we see ourselves here, and know stories can be about us. Acknowledging the power we all have to MAKE THINGS BETTER with what we fight for is so important--especially if we're going to speaking to the next generation about it.

Highlighting Rose Quartz as a "born leader" who failed and Steven as a relatable scamp who did what she couldn't, Jemisin asserts that we can save the world.

1. END OF AN ERA

We start with an appeal to the audience to think about identity and the formative parts of our childhood--and how different it is if who you are and who you become is restricted, mocked, erased, or Not Allowed. Most people, if not ALL people, can relate to this, but for those of us with a special relationship with Steven Universe because of queer identity, this hits hard.

But it doesn't have to be anything grand to be something we respect--this show's authenticity comes largely from how personal everything is, drawn from real-life experiences and incidental truths from each artist's perspective, leaning hard on childhood and formative experiences.

Rebecca Sugar offers some interview bits to discuss writing philosophy and why "writing female characters" was difficult for a nonbinary person who'd been socialized as a girl and a woman. Rebecca has spoken before about how frustrating it is that marketing for cartoons was SO gendered when she was growing up (and to some extent still is).

The Gems in the story are all "she/her," but on their planet they're defined by their work, not by emotion or relationships (unlike women in our society), so having them be socialized opposite to how she was and be able to claim those emotions through choice and NOT as just an expectation "as women" was revolutionary. Rebecca wants her show to tell all marginalized people that they don't deserve to be in the margins.

Weighing in on other aspects of the show were Ian Jones-Quartey, Joe Johnston, and Miki Brewster. Ian describes feeling like at first doing SU was a thrill ride that meant they'd finally get to do all the cool stuff, but it quickly became a responsibility that he took very seriously--the need to tell a good story now that he'd been given a megaphone.

Promotional art, planning documents, character sketches, and concept art from the lighthearted to the stone serious is included, along with some very cool (sort of famous) timeline charts that track major characters' developments. It's emphasized by Rebecca that the developmental materials ARE NOT CANON (and especially are not MORE canon) compared the final show.

There are concept sketches alongside final art for Aquamarine and Topaz in "Wanted" (with Topaz labeled "Imperial Topaz"), the Zircons in "The Trial," Blue and Yellow Diamond, and the Off Colors (including Pink Lars).

And there's also a spread of "the two sides of Steven's life: Gem Magic and Rock N Roll" featuring Sadie Killer and the Suspects (referred to as "Buck's band")--as well as a cool "Crew Cameos" key and some concepts for short-haired Connie.

And then there's some more "finished" art with stills alongside concepts, including some background art, revision, and really cool "fairytale" art from some of the shadowplay storytelling bits. We get "Lars of the Stars," "Jungle Moon," and "Can't Go Back."

2. THE BEGINNING OF THE END: A SINGLE PALE ROSE

In discussing the huge reveals and Gem mysteries in the show, the pacing is examined, and emphasis is put on the intended "slow burn." One of the most difficult things in the show was to strategize so that every piece that was needed to support another piece in the future was placed properly to seed what it was supposed to.

Some of the ideas they developed were more of a group effort and were fit together collaboratively (like Amethyst's being younger than the other Gems and Jasper being from Earth), while others were intended from the beginning based on Rebecca's vision (the fundamental idea of Pink Diamond's true identity, for instance, as well as Obsidian's design and sword and our Pearl not being Pink's first).

The writing process gets a great deep dive here, including fun tidbits like how the orb in the moon base was inserted by Joe Johnston and they literally had no idea what it was for when they wrote the episode. They repurposed it when they figured out what they needed.

Rebecca credits her detailed timelines for helping keep the order straight, and discusses how other artists are sometimes flabbergasted that a storyboard-driven show can have this much detail and continuity and yet not get wrecked by the free non-scripted boarding process. But Rebecca and the Crew valued that approach and loved the way fresh eyes would handle an idea, making it come back alive, entertaining, vivid.

Several Crew members weigh in on the writing process. Lauren Hecht refers to making lots of incorrect guesses despite being on the inside. Joe Johnston recalled getting briefed on his first day and getting so excited to start working on this massive project.

Miki Brewster remembered being told Rose Quartz is Pink Diamond and being shocked--and also confused about why Ruby and Sapphire would need to be married if they're already basically married. Drew Green talks about being brought in late and getting to watch unaired episodes and a rough of the movie while eating cereal.

Ian Jones-Quartey complains about Pink Diamond's real jester-like form being leaked to the internet through a Hot Topic shirt. Rebecca piggybacks on that and says it was upsetting that the wedding was leaked because of toy fair keychains featuring Ruby and Sapphire in wedding attire. They'd always be worried about leaks, and sometimes Rebecca struggled not to talk about the reality of Pink Diamond before the reveal because she knew it would make so much more sense once the truth was out. And everything associated with Rose makes more sense once you know she's Pink--especially what happened with Bismuth, considering what we know about how Pink Diamond has a habit of treating anyone who no longer serves her interests.

When it comes to visual cues, Rebecca also talks about intentional designs to create a feeling of unity between concepts, like the flower shapes on Pink Diamond's palanquin lining up with the poofs of Steven's hair and the star imagery of the series. Steven Sugar and Mary Nash discuss how the Human Zoo incorporated this imagery, trying to look like Homeworld with a Pink Diamond touch.

Steven Sugar, as a game nerd, liked to throw in video game references from old and modern stuff to feel like he's inserting what he's enjoying and who he is from moment to moment, while Mary Nash, who related to Sadie as a basement-dwelling young person with cult interests, liked to include stuff from MST3K and cult movies. Pearl's hand gestures get a spotlight too--her reflex to cover her mouth when Pink Diamond was being discussed was analyzed here.

A "Top Secret Visual Timeline" from 2016 is included which tells us some Diamond history. It has an earlier version of Pink Pearl's fate and does not include Spinel since the movie hadn't been greenlit. The timeline includes the birth of the Diamonds, the emergence and major story beats for each major character, and some philosophy of the driving force behind each.

We're told that Pink Diamond straightened up, behavior-wise, after she lost her first Pearl, and that Yellow and Blue wanted to give her a planet but White only agreed to it to prove she would fail at managing a colony. Pearl, meanwhile, is so confused to have a Diamond who keeps asking her what she thinks when she doesn't believe she should have opinions.

And when Pink moonlighted as Rose to start conflict, she found herself leading an army to fight Pink's troops--then Yellow's, and eventually Blue's too. Lapis is said to be waiting for the conflict to end on Earth so she can terraform, but she gets trapped instead.

Pearl's love story with Rose is described as "an endless honeymoon" where she's free to love her, while Rose's is more like "I'm now the head of the family and I'm going to give everyone what they never had, so everyone is super special!"

Jasper is described as "adopted" into Yellow's army as the only successful Beta Quartz. And White Diamond knew that Pink Diamond was not dead--she thought she was just running away from home like a brat and would eventually be back.

3. THE HEART OF THE CRYSTAL GEMS

Now we discuss Rose Quartz--the original Pink Diamond. How she was selfish and selfless, never enough and always too much, and how Greg was her first partner who "challenged her" to be an equal. Rebecca describes Rose as being delighted by the idea that both she and Greg reinvented themselves, but when that leads her to want to share her past, Greg isn't interested--he only wants to know who she is now, and doesn't consider the old her to be her.

Rebecca likes Carl Jung's concept of "enantiodromia," which is the idea that extremes lead to their extreme opposite. This is demonstrated in all of the Diamonds. This narrative is interspersed with drawings of Greg and Rose being cute.

But another "heart" of the Crystal Gems is its relationships--particularly, Garnet, the fairy tale romance embodied. More psychological theories are discussed with regard to differentiation in a relationship making the relationship stronger, and how they made sure that happened for Garnet during the appropriate arc. Rebecca has struggled with the idea that she, like Ruby, went straight from a "family" group to a living-with-others situation and never lived by herself. But she also learned that you can in fact develop as a person in the context of a relationship--you don't have to be alone to do it. Ruby learned that too, and chose on her own terms to be with Sapphire.

The wedding made so much sense to Rebecca and the crew that they couldn't imagine a wholesome couple like Ruby and Sapphire not having a wedding episode. They wanted it for years: The wedding concepts always included the tuxedo for Sapphire and the wedding dress for Ruby.

But pushback (often blamed on the conservative standards of the international market) led to negotiations trying to keep Ruby and Sapphire's relationship from being explicit. Rebecca and the Crew were very tired of this double standard, and they were especially irritated by attempts to claim a wedding wouldn't be well received by a core demographic or wouldn't make sense for Steven's character. But other shows had done weddings and Steven had been established to love weddings already.

Rebecca kept adding more elements to the wedding episode to answer all the concerns, but she didn't want to back down from explicit marriage between these characters. They deserved it. And the audience deserved to see this as wholesome, like any other cartoon wedding. Eventually they got their way and were allowed to have the wedding. But the ordered episodes were also coming to a close without promise of more, so Rebecca had to request more episodes to be able to wrap up the storyline!

And of course, there is Steven, the true heart of the team. A very interesting aside discusses Garnet's leadership and how the network pushed the Crewniverse to acknowledge Steven as the leader. This was successfully resisted throughout as well--because Garnet is the leader (unless she's incapacitated, of course). It's fantastic that this concept was preserved because too often a young male chosen one is elevated above people with more experience and knowledge because of that chosen one tradition, so it's really nice to have a show acknowledge that team leadership is more appropriate for an adult.

4. ERA 3

Beginning with a discussion of the Diamonds, this chapter deconstructs the dysfunctional "family" of the Diamonds (who are said to be based on tropes about evil stepmothers and stepsisters), with the thread of dysfunction originating with White Diamond.

Yellow is physical, Blue is emotional, White is judgmental, and Pink is impulsive. Some philosophy on why Pink is naturally manipulative and why she clashes so much with White is offered.

White believes her identity is to be imposed on all because she is the pinnacle of what should be--and therefore, she has the right to make decisions and statements about and on behalf of everyone. But her secret is that she can't do what the others do--act or feel or want. In trying to be everyone, she is no one.

And this becomes very important when she confronts Steven about his identity and turns out to be wrong. The triumph of Steven being totally, fully himself is a beautiful, simple revelation that's described as far more satisfying than the theories about Pink living inside him or Rose returning from his Gem.

Also discussed is Gem architecture. A lot went into this idea, and Steven Sugar weighs in to say he had to think of what it would mean for a world to have buildings but serve no human needs. That's why it's mostly focused on transport and storage. Even the broken planet is meant to indicate a place stripped for its resources, and everything serves a function that is meant to avoid looking like the human equivalents.

And there's another layer, too: a difference between Era 1 and Era 2. Era 2 became more functional to hide Era 1's broken bits, and older Homeworld buildings still have some "ornate and ancient" feel to them. And the fact that props, tools, and even walls and doors could be living was taken from a concept Rebecca thought was horrible from old Busby Berkeley movies, where people were inanimate objects and it was portrayed as lovely. Tom Herpich helped conceptualize these living objects.

Steven dealing with "princess tropes" is discussed here too. The Pebbles (worked on with Pendleton Ward) were sort of his Cinderella's mice, and all the locked-in-a-tower, having supportive tiny friends help you, getting princess clothes made, attending a ball, having to mind your manners stuff was intentionally related to fairy tales.

The point of doing that (besides fun) was to easily invoke the feeling that Steven was being made to be someone he's not, and that he was being treated like THIS is who he really is when it isn't. White Diamond as the "evil stepmother" is discussed with regard to her detailed features and massive scale. They generally didn't put fingernails and eyelashes on characters (especially not to indicate that they were women or girls!), but they decided White would get all of these feminine markers for tradition's sake.

Rebecca also invokes several other references that were included and describes the princess tropes as "chipping away at his integrity" setting him up for the final challenge with White.

There is again tons of concept art: Homeworld architecture, Pebbles, Diamond diagrams, background Jades and Lemon Jade Fusion, Comby, Diamond extraction chambers, and White Diamond.

5. CHANGE YOUR MIND

Now we finally begin to discuss Steven's identity. The "Perfect Steven," discussed in several interviews before this book's release, was an idea back in 2013; the "ultimate Steven," beefed up and shonen-looking, was far from perfect because OUR Steven is perfect, while this alpha hero Steven idea (used in Steven Universe Future) didn't belong being idolized in such a show.

They thought about having Steven fall apart into organic half and Gem half early in the show (during "Giant Woman" after a successful fusion and unfusion, even!), but they didn't try the concept until the last episode. They didn't want the "Pink" Steven to be portrayed as "better" even though he would be more powerful, so they decided he isn't whole without his organic self and he's just as much of a shell as the organic half. They absolutely did not want any ending that required Rose to be inside him or waiting to come back. But the debates were fierce--what DOES it mean to have Rose's Gem?

Ian Jones-Quartey brings in an anecdote about his own family to emphasize some of the immigrant themes that inspired aspects of the show. He had a brother who reinvented himself elsewhere away from family without resolving issues, and all the ramifications of that were explored in the show through Rose Quartz. (He is careful to say he doesn't think his immigrant experience is like being from another planet!) But he did say you can hurt your old family even if they were toxic or didn't know the real you, and you can hurt your new family by hiding your past. The Pizza family of course was also a more direct reference to Ian's Ghanaian family.

In talking about the new Fusions from this episode, Sunstone is largely described by Miki, who also got to board the Sunstone section. Sunstone was described as a cool 1990s character and the evolution just continued into making them a fourth-wall-breaking PSA dispenser. Obsidian is also discussed, with their sword being an early concept. Steven Sugar said they totally knew it would be forged in action. Obsidian being similar to the Temple design is of course another very early detail.

The story of how James Baxter got involved with one of the final scenes (Organic Steven and Pink Steven fusing in front of White Diamond) was shared. His family was fans of the show and Rebecca Sugar took the time to drive to a birthday party for his daughter and give her a drawing. He then owed her a favor, and this was it.

Concept art is again included, this time with sample boards, promo images, a Diamond fight concept, costume design changes for the Gems, new Fusions, the so-called "Mega Diamond" ship conglomerate, some scenes from the White Diamond confrontation, Pink Steven, multiple pages of James Baxter animation, corrupted Gems and their healed selves, and photos from the "Change Your Mind" premiere and some awards. The show has won one design-related Emmy, a Peabody Award, and a GLAAD award.

6. STEVEN UNIVERSE FUTURE

The book doesn't cover the movie because it got its own book, but dives right into Future. Ian Jones-Quartey emphasizes that the movie and Future are separate and different from the original show, which ENDED. After all, after that, Steven has a neck!

Some new names are invoked now: new writers Kate Tsang, Jack Pendarvis, and Taneka Stotts. They were excited to have Steven make HIS OWN mistakes instead of trying to clean up someone else's! Now, instead of doing the usual shonen anime thing and having the final battle be a big physical rumble, Steven has to make peace with himself and take an active role in coping with what all the fighting has done to him and what effect it's had on who he is (and who he wants to be). There is no sudden "I love myself!" answer, either. It's always a process.

Drew Green and Maya Petersen, who came on board as storyboarders officially in Future, also weighed in on writing for a "mature" show, how to deal with Steven being a "moral compass" while being sort of unreliable, and what they learned as Crew that they didn't know as fans. Drew didn't know Garnet never asks questions. Jack didn't realize the show never deviated from Steven's point of view. Taneka was nervous but excited to collaborate. Kate was worried about how established the show was and what to do as a new writer to contribute appropriately.

Maya was on the old Crew but not as a storyboarder, so felt like some of the "old" ideas ended up not being appropriate for the "new" Future in an embarrassing way--and dreaded the idea of dealing with Steven's emotional problems when they were similar to stuff she'd been through. She also was personally behind the idea of Steven wanting to dump his problems by becoming Stevonnie, and got to work with Etienne Guignard on inventing the Pearl creation backstory with Volleyball.

There's some discussion of "depression hobbies," stress, and the show's pacing. And they say Etienne was entertaining at pitches. There's even some discussion of how Greg is taken off a bit of a pedestal because his terrible restrictive life in the suburbs sounded wholesome to Steven and Greg presented it negatively.

And then there is some information about how the Crew felt behind the scenes due to fan reactions and negative press. Ian discusses feeling offended when the Black characters are described as bad examples, as if their cartoonized but realistic-in-context features are automatically caricatures.

Rebecca Sugar felt beaten down by some of these narratives and began to access mental health services, inspiring some of the content of "Mindful Education." A long reflection from Rebecca discusses people's infighting about her show and what she had a responsibility to show or not show in the story. She learned a lot about bullying from Cartoon Network's anti-bullying program and learned that bullies thrive on whatever attention you give them--unless it is made clear to them by a peer group that no one is impressed by their cruel actions. Also, not all negative feedback is bullying. Constructive criticism is different. Self-awareness can help you avoid internalizing what bullies might do or say to you.

Segueing from the discussion of how people are affected by and connect with the show, we then discuss how they chose as a team what should be covered as the show came to a close. They didn't have time to do quite a few stories they wanted time for, like a Rhodonite story, a Lars side story, and Diamond "prehistory" and religion; all of it was put aside for the main arc with Steven.

They thought people would find those stories about Homeworld and Off Color history very interesting, but so much of the show had been about Steven's Gem adventures, so keeping him mostly on Earth seemed appropriate. The acknowledgment of his battle damage, of his trauma, was necessary and real, and helpful in an important way to the core audience.

Oh, and there was some stuff about a cheeseburger tree. Don't ask.

In discussing the "reverse escapism" of the original show (Gem aliens are intrigued by everyday human culture, and realism is necessary), Rebecca says her views have changed on escapism and gets why some people want a soothing feel-better show. She acknowledged also that her own escapist dreams-come-true fulfilled in the show didn't feel like escapism because they were givens to the majority of mainstream culture, but were never guaranteed to marginalized people.

Rebecca ties in her several-times-told story about "Love Like You" and how the middle bit was when she didn't feel she was worth looking up to, and the realizations she had to tie the beginning to the end. Feeling like someone will like you less if they know you more is terrible. So sometimes a show like this can be helpful in telling people that they belong when their fantasies are things like "I want to be loved" and "I want to know I exist."

In Future, Steven has to connect to who he is and love that person--and understand that person enough to finally feel that even if he's not fixing their problems or saving their world right this second, Steven deserves his family's love and support, and they WANT to give it to him.

There's a huge amount of supplemental material in this section so there's no way I could name it all. The charts for Future's timeline are pretty straightforward, though a few episodes like "A Very Special Episode," "Why So Blue," "In Dreams," and "Bismuth Casual" aren't specifically represented and a couple are in a different order ("Prickly Pair" was conceived as happening after "Fragments" and "Homeworld Bound").

Steven feeling like a monster, having intrusive thoughts, having not forgiven the Diamonds, and getting help/moving on--it's all there.

We have keys, color scripts, and boards for the new opening and some various backgrounds and storyboard art from episodes. Model sheets for Shep, Nice Lapis and Mean Lapis, Jasper, Steven Tag Gems, Pink Steven Powers, Monster Steven. New house concepts, Era 3 Homeworld concept art for the Diamond environments, and background art for the Reef.

New Connie and Greg designs. Concepts for Mega Pearl, the Rose Quartzes, Bluebird, and Morganite (who didn't get used). And there are some photos from recording and the conference room. There are even some extras from "Crossover Nexus," the crossover with OK K.O.!--including an unused cut scene that included Ruby and Sapphire fighting. The rest of the book is a bunch of adorable Crewniverse art--extras, blog drawings, promos, and gifts to each other.

NOTABLE

1.

The first timeline chart in the book features a cool sketch of the original Off Colors, which at the time this planning document was drafted included unused Off Colors Flint and Chert.

We knew of their existence already because of an episode of the podcast, but these two unexpectedly appeared as incidental characters in the Steven Universe Future episode "Homeworld Bound," identified only in the credits. Sad to think that instead of banding with the Off Colors, these two were probably shattered for their crime (being Quartzes who don't want to fight) and that's why we see them being repaired in this episode. Later, there's some brainstorming for types of Off Colors and "a Ruby that wants to wear limb enhancers" is mentioned as well.

2. 

It looks like there was also originally more juice to the story of tracking down the events of the war culminating in Pink Diamond's assassination.

One of the timelines talks about Steven thinking it makes sense that Pearl can't talk about her involvement because she might have been a double agent, explaining why Rose Quartz always knew what Pink Diamond was doing. It seems like that bit was supposed to be included in Garnet's version of the story she believed in "Your Mother and Mine." Seems like they originally conceived Garnet's story to inspire the Off Colors to become pirates and freedom fighters, though in the show's canon this storytelling happened after Lars had already reinvented himself the way he did.

Sadie was also supposed to be sending letters to Lars via Steven, which is funny since the "Letters to Lars" episode is just a montage Steven letter. And of course it's specified that Steven was supposed to get Pink Diamond flashbacks by going to the Palace on Homeworld.

3. 

The second chart in the book makes references to Sadie's reinvention of herself as a parallel to Lars, Greg, and Pink Diamond all doing the same thing, and how positive it is to embrace such a thing--a version of yourself that YOU create.

I love that Yellow Diamond's arm ship arm-wrestling the Cluster was always part of the plan.

There's some more explicit direction to have Connie help Steven understand the Diamonds as "strict parents," and a lot more emphasis on everyone realizing Rose had been inspired by THEM rather than them all following her.

White Diamond is presented here as if she thinks of Pink Diamond as a "daughter" (whom she now understands she has "lost"). There are notes on how the Diamonds have a responsibility to their children and should attend to it before just continuing to make more.

4.

One of the concept art images for the Off Colors features Rhodonite crouching by Padparadscha saying "Don't worry, I won't let them hurt you." It's very interesting because she DOES seem to protect Padparadscha in the show, but doesn't seem confident about it in her final version, even though it does seem like she'd be "programmed" to guard aristocratic Gems because of her Ruby and Pearl makeup. Cool.

5.

A "Crew Cameos" spread was included, which is of great interest to some of us who loved seeing the Crew insert themselves into the show. Not every SU Crew person who's been represented in a crowd was there, but this crowd included Amish Kumar, Kat Morris, Amanda Winterstein, Angie Wang, Lamar Abrams, Emily Walus, Mary Nash, Joe Johnston, Christy Cohen, Danny Cragg, Hilary Florido, Danny Hynes, Matt Burnett, Ben Levin, Elle Michalka.

6.

The official national flower of South Korea, Hibiscus syriacus, is the name of Pink Diamond's flower.

7.

One of Steven Sugar's comments about the silhouette difference between humans and Gems points out that humans have ears. This seems to be pretty good confirmation that they are not supposed to have ears, despite that sometimes we'll see ears drawn on them in some frames.

8.

Rose Quartz/Pink Diamond is characterized in this book as "self-hating" in a really interesting way, saying that because she believed she was not capable of compassion, she practically worshiped those who demonstrated that ability and thought they were so much better than her--which is described as "intoxicating" and resulted in others being drawn to her. How interesting is that!

9.

Timelines reveal that early plans for Pink Diamond's first Pearl originally had her getting destroyed by Pink during  a game, and then her destruction was rewritten as a punishment from the Diamonds after Pink Pearl defended Pink Diamond to the other Diamonds. They went back to the idea of her getting hurt by Pink for the final version, though the cracked face and control by White Diamond was not on the agenda until they started writing "Change Your Mind."

10.

The approximate ages of the major characters, based on emergence, are revealed on these timelines. It begins with a cracked-planet-looking graphic depicting four tiny Diamonds emerging at 20,000 years ago. Some suspicious "blacked out" redacting surrounds a long timeline tail that goes back before that, which may mean there are secrets they still don't want to reveal. But the dates go like this:

20,000 years ago: The Diamonds emerge.

11,000 years ago: Pearl is custom-made for Pink Diamond.

8,000 years ago: Sapphire emerges (on Homeworld).

6,000 years ago: Ruby emerges (on a colony).

5,750 years ago: Garnet is formed.

5,600 years ago: Lapis is poofed and put in the mirror.

5,200 years ago: Jasper emerges (on Earth).

5,050 years ago: The Cluster is planted.

5,000 years ago: Amethyst emerges (on Earth).

4,500 years ago: The Crystal Gems found Amethyst.

3,000 years ago: Peridot emerges (on Homeworld).

40 years ago: Pearl found Lapis's mirror at the Galaxy Warp.

And of course we know 14 years ago Steven is born!

11.

Originally the Diamonds were based on a quartet of themes: Love, Fear, Pride, and Sorrow. It got too complicated to keep and it was abandoned, with Pink's identification of "love" being described as "particularly outdated."

12.

Notes on a sketch say that Pearl was inspired to become bold and unashamed because Pink's questions drove her to have opinions, and it's said that Rose "fell in love" with her boldness.

13.

Rebecca tells the story of driving off a ridge and getting stuck in the desert, comparing this to Ruby's tumble during her Wild West adventure and using it as inspiration. She's told this story before but here it is in print. She also included the story about using the flowers from a friend's wedding to put in Ruby's hair.

14.

Rebecca describes having to "fight" notes she was given when it had to do with Ruby and Sapphire's relationship. One she describes as NOT fighting was for a signing card depicting Ruby and Sapphire dancing. It was called "too romantic" and she decided not to worry about it since it wasn't the actual show content.

She was also scolded over her book The Answer because the powers that be expected her to downplay that relationship. She always argued that queer youth deserved these things.

15.

Tom Herpich describes being inspired to name Blue Diamond's comb "Comby" because he was watching the news about Comey getting fired from the FBI. It's also a mineral-related term and I always assumed that reference was intentional, but maybe it's not and this is the only intended significance to Comby's name?

16.

Rainbow Quartz 2.0's design is not discussed, though the other two new Fusions from "Change Your Mind" (Sunstone and Obsidian) were. RQ2 has some sketches included, but no accompanying narrative in the text.

17.

A sheet of corrupted Gems and their healed selves is offered, though it doesn't appear to be final. The obelisk in "Serious Steven" is labeled Albite. The unnamed Worm Monster, Desert Glass, and Watermelon Tourmaline are included. An unnamed birdlike Gem represents the Big Bird monster from "Giant Woman." The crab monster from "Arcade Mania" is labeled Blue Chalcedony. The Tongue Monster is drawn uncorrupted but not named. The Flower Monster from "Back to the Kindergarten" is labeled Grossular Diopside or Titanite. The invisible monster from "Island Adventure" is labeled Moonstone. The Lighthouse Gem is labeled White Topaz. A form for Larimar that was used in "Change Your Mind" but changed in Future is there. The Slinker is listed as Chrysocolla. And the Crab Monster is listed as Aventurine.

On the next page, this is changed to Bixbite (as it was in Steven Universe Future), and we then also have Lace Amethyst, Blue Lace Agate, Crazy Lace Agate (Fusion), Ocean Jasper, the Mother Centipeetle Nephrite (Facet 413 Cabochon 12) and three other Nephrites, Angel Aura Quartz, a hooded Jasper, Zebra Jasper, Biggs Jasper, Watermelon Tourmaline (labeled as Fusion of Gem * Onion--huh?), Snowflake Obsidian, "Little" Larimar, and Orange Spodumene (who was the Worm).

18.

The Rhodonite side story would have been about the love story of a Ruby and a Pearl working for Morganite. Images of Morganite and her servants, unfused, are in the book. We do not get this additional information, but Rebecca said in a panel shortly before the book's release that Rhodonite's story would have been about finding out that she had been Rejuvenated 17 times because her components kept falling in love and needing to be reset.

19.

Referring to the Diamonds on one of the charts, Steven's perspective is "I can't believe I helped these" and then there's a censor bar. Welp.

20.

Some included art by Hilary Florido features Kevin with a souped-up Koala Princess car and another where Kevin is staring at himself in the mirror in front of an altar to himself.

21.

Rebecca's sweater collection is included in the Crew art.

[SU Book and Comic Reviews]

[frumfrumfroo]

Your answer on fandom conflict was actually helpful and informative. I wasn't trying to "both sides" the issue per se. But from my pov, the resentment/contempt def goes both ways. The difference is one side has more entrenched power/clout (for obvs reasons). And that sucks because I see value in both. Meta is great for enriching your understanding and finding new perspectives. Enjoying lore and "pew pew" doesn't make you a rube. If we could balance/combine them fandom would be a better place.

Oh, glad to hear it!

I do see people being needlessly dismissive of broad subsections fandom as if they're exclusively inhabited by FM dudebros, which isn't cool. And there's nothing wrong with being a lore anorak or with liking spectacle, though I would argue it's still important to understand the story itself if you're going to engage with it actively. The problem comes with people thinking that referencing minutiae is a replacement for plot or with thinking that not caring about story/themes makes you a superior fan because you uncritically accept and celebrate every product with the brand name on it regardless of message or quality. 'True fandom' as knowing every bit of trivia, etc. And 'masculine' fandom tends to fall into that because it is quantifiable, you can compete with other fans and there's a measurable outcome.

Meta and ship fandom does try to have pissing contests, but there can never be any clear winner except in terms of popularity. And you can be the most popular ship without having any basis in canon whatsoever, so that's not much of a 'true fandom' definition. It not being quantifiable gives the whole power struggle an entirely different dimension. To genuinely compete, we'd all have to agree on what the criteria are because we're dealing with something nebulous, and even if we did agree victory would still be a matter of individual judgement.

The sense in which fic/meta fandom tends to be derogatory towards lore/spec fandom is where it has essentially missed the forest for the trees. So you have people who consider themselves superfans of SW but hate and reject redemption and compassion, which is literally what the story is about. But framing this as a problem only ‘masculine’ fandom has fails to acknowledge that there are shippers who are equally uncaring about what the story wants to say and are only here for tropes, dynamics, and images they can appropriate. That there are loads of people writing meta for SW who are so completely missing the point that the point is in another dimension.

To me what needs to happen is for everyone to realise fandom is for fun, it’s not a contest, and however you do it is fine. Even missing the point is your prerogative if that’s what you want to do. The only issue I take is with the hierarchy and the relative treatment different forms of doing fandom receive. And I take issue with people who can’t acknowledge reality. It’s fine to disagree with what a story is saying and decide to read it your own way, but it’s not fine to try to gatekeep and bully the entire world into validating you. It’s not fine to pretend the whole raison d’etre of a narrative doesn’t exist and attack anyone who reminds you it does. It’s not fine to ridicule people who think that it matters and aren’t content with aesthetic trappings.

I’ve hated canon pairings lots of times, but I’m not going to sit  here claiming they weren’t in the text or were actually ‘sibling-coded’ or whatever other nonsense. I’m not going to lie about the thematic content of a text just because I disagree with its conclusions or message. I’m not going to say the essential character of a story, the thing it was created to communicate, doesn’t matter. It’s fiction and we don’t have to take  what we’re given, but at the same time no, not all interpretations are valid. Yes, you can be wrong.

I’ll never tell anyone they have to accept new developments or new instalments they don’t like or that they can’t write their own version of a character, but you do have to acknowledge what the basis of canon actually is if you’re going to play in the sandbox with the other children. You can write whatever fanfic you want, but you can’t demand everyone else cater to you and pretend your version is reality. There’s a big difference between ‘I see what canon is doing but I don’t think it’s done well/I don’t like it/I’d rather it suited xyz preference of mine’ and just… refusing to admit what is front of your eyeballs.

The people angry and threatened by both romance and redemption yelling about how these things have no place in SW are objectively wrong. You can dislike those things and try to minimise them (why not just watch something else? but I digress), but flat out denial they’ve always been central to the narrative and attempting to drive out anyone who mentions them is insanity.

[dwimpala-67]

Whatever Happens....

My two cents on the whole Prequel-Gate ...

Warning: The opinions expressed are purely personal and have no bearing on any person and if they do it’s merely coincidental and are without intention. If you choose to read this, it’s solely at your own risk and the writer is not responsible for any consequences thereof.

Jared and Jensen have been at the heart of Supernatural for past fifteen years. J2 - along with the show have been the source of joy for everyone in the fandom.  We’ve seen them grow up, seen their friendship evolve and seen the way they interact with each other. We fell in love with them, with the beautiful friendship they share, and their compassion and empathy and strength and understanding. These two beautiful individuals weaved their way into our hearts. Somehow, they’ve become a part of our lives. And we trusted them, like we do with any individual that is close to us in real life.

The end of Supernatural was bitter sweet for many of us, especially the J2 shippers. We could see our beloved show being ruined and we all thoughts perhaps, it was time to end it but secretly still wanted a miracle to happen and the story line to be back to its true canonical nature without the OOC story line that was being fed to us. Then came the announcement that Supernatural would end with season 15. Even if we knew the it was inevitable, it was still a shock. We have a saying back in my culture: “Whatever has a beginning, has to have an ultimate end.” And true to that, it was time for Supernatural to end. It doesn’t mean we had to be happy about it. After all, this was the show that meant a lot, personally to many of us.  To see it coming to an end was painful, shocking, even heartbreaking. But we accepted it eventually because life must go on.

With end of the show, we had to accept another reality. To watch our lovely pair - Jared and Jensen- go their separate ways. For 15 years, there never has been a moment where J2 weren’t in each other’s pockets. We saw them refusing to acknowledge personal space, saw them making heart eyes at each other, saw them going on dinner and lunch dates, saw them living together, getting married the same year, saw them grow their family together, saw them living in Austin together, saw them doing campaigns together, saw them golfing together, saw them being there for each other, making each other smile, saw them having each other’s back. We practically saw their love blossoming - for some it was a unique friendship and for some it was more than that. I don’t mean to point anyone out here, but the bottom line is that everyone of the J2 fans saw an ideal relationship between two people we loved the most. We choose to believe in what we saw.  And for us to suddenly see them being away form each other was hard to digest. It still is!

But we chose to believe everything was good, because we believed what our eyes saw. The way Jared and Jensen talked about each other in interviews even after the finale, the way they spoke at the virtual conventions, the way they interacted on social media and even the few instances of fans seeing Jared in Colorado exactly the time it was Jensen’s birthday, the way Jared knew about Jensen’s Soldier Boy suit before anyone else, and I could mention countless such instances that made us believe that the relationship these two idiots share was special and perfect. The kinda thing that can be called “made for each other.”

One fine day, we came to know not everything was as we believed it to be. It turned out Jensen did something by not telling Jared anything about it when the latter has been an integral part of the original concept. Everyone was beyond shocked. Each one of us felt betrayed, angered, pained at the way our beloved pair had a public fallout. Some chose to take sides and some decided to leave the fandom while others decided to be angry and disappointed in Jensen. There was despair all around and no one knew what was going on behind the closed doors. The only thing we knew was Jared was hurt and Jensen was the reason behind it.

I won’t go into the what, why and how of the whole fiasco, because by now, everyone has their own theories as answers to these questions. I have mine too. I see these theories as some sort of “justification” from our side to make sense of the situation. It’s not wrong because we’re searching for answers. We’re also searching for answers we will never get. (Unless either of the J’s decide to speak on it.) But there are a few questions that I feel are important to be addressed.

Do we have the right to feel angry and hurt over the issue? Absolutely Yes.

Do we have the right to take sides? Of course.

Are our feelings of hurt and pain that we resonated with Jared valid? Hell yes.

Everyone has a coping mechanism and the initial emotions or reactions were absolutely valid. However, it’s what happened later that has me thinking.

1. Do we have the right to know what happened behind the scenes? Probably but we would never. There lies the uncertain feeling of “how should I proceed from here?” and “How do I feel about it?”

2. Do we have the right to demand an explanation or an apology from Jensen? Absolutely no.

3. Do we have the right to throw vile words at/abuse the people involved? Hell no.

I would like to look at the whole thing in perspective. This has affected many of us and perhaps woken us up with a hard slap of reality.

For all of the 15 years, we’ve been fed with the “happy couple” image and for us, maybe the boys became the image of the “perfect couple with no issues” and when there was a very public spat between the two, there was a serious damage to our perception. This is where people didn’t know how to react. Many spoke out their emotions clearly, many were sad, confused and scared and many decided to be bitter. Few decided to leave I have no problem with it, I don’t judge, as I said earlier everyone has their own coping mechanism.

I feel like the issue is, as fans we are here to celebrate and have fun and not become entitled to know the truth or demand answers from the celebrities. Sometimes we forget entitlement is a delusion based on self centeredness. The demand to know what happened or the demand for Jensen to apologize in a particular manner cannot be the way we deal with the situation.

We need to consider the fact that the people we idealize, in this case J2, are also that - “people” or “Humans” to be more precise. Humans make mistakes. Just like we do in our everyday life. the problem with celebrities is, anything they do feels like “more than life” size. Even a small compliment makes us go “aww” and a disagreement/misunderstanding makes us go “Omg! They’re enemies.” It’s normal reaction because we hold them in the highest regard like “celebs/fan favs can do no wrong.” So, when this happened with J2 everyone had a reaction like this was the end or it has ruined it for me, or I’m done with this fandom. There were also a few reactions like anger and entitled demands. I always say false sense of entitlement always brings you doom rather than happiness.

The fact remains, Jensen disappointed all of us. A huge blow was dealt to the “happy couple” image and we all were left floundering. I was observing the reactions and I suddenly realized I’m far too much invested into the lives of two actors whose lives are already complicated. I mean, after the entire chaos, I too felt sad, angry and disappointed. It was upsetting me more that it should. Fandom is a space where I come to escape from real life. But if Fandom starts affecting my real life so bad as to make me upset, I felt like there’s something wrong. It shouldn’t be the reverse of what I would rather have the fandom to be, which is a happy place or the place where I go too relive my stress. And if the apparent relationship status of two actors affects me this much, it’s time to take a step back, evaluate and then proceed.

the other day, I was reading a twitter thread full of theories and according to the fans who was right and who was wrong and etc, etc, etc. I found, it shouldn’t matter to me to judge who was right and who was wrong. I’m in no position to judge who felt what, because in no way am I the party involved in the conflict. It’s a conflict between J2, who had some issues obviously and they manages to talk about it and even let us know that they are good. Now, I personally, felt like if the J’s claim they’re alright, then why should I doubt or even theorize about how their friendship has taken a toll. If someone tells me they’re fine, I usually believe them to be fine, unless I see something contrary to the fact. In this case, either of the J’s didn’t comment further on the matter and just as I was watching everyone calm down, other elements decided to jump into the muddy waters and splatter it everywhere.

The interesting thing about Kripke’s tweet was “assumption.” This word “assumption” is a very interesting word and has the capacity to blow up even the most calming waters. So, Kripke assumed, and then based on Kripke’s assumption, everyone else assumed. I’m just pointing out what happened, in no way am I justifying any of the J’s behavior. Just a thought. So assuming Kripke was right we assumed Jensen deliberately kept Jared out of the project and the issue escalated even more. Everyone was jumping the gun and then as miraculously Kripke has tweeted, he also deleted those tweets. Then came the damage control.

When Jensen and Jared had tweeted about the “truce” I thought the matter was supposed to be put to rest. Perhaps Kripke deleting the tweets and then Jensen going back to promoting his prequel was their way of brushing off the conflict and focusing more on what was more important to them: The Winchesters prequel. Another theory to add to the already existing million ones..lol.

Does this mean we should be hateful and abusive towards Jensen? No.

Our feelings of disappointment are valid but it doesn’t mean I have aright to be abusive at Jensen. No matter how he acted nothing gives me the right to throw abuse at anyone unless I’m the one who’s directly involved in the conflict. They way I see it, as a fan, I was hurt and caught off guard but I am in no position to judge either Jensen or Jared, especially when they say they’re alright. I decide to trust them. I choose to trust them, just I chose to decide they were the made for each other friends in the past.

There’s this another saying that I remember “To Err is human, to forgive is Divine.” It’s not as if either of the J’s have been flawless as a person. Everyone has some shortcomings and so do they. As a fan, I need to find the same level of “acceptance” that I do when I’m in the similar situation in real life. As a fan I need to accept that Jared and Jensen too are going to have some issues going ahead in life. Just because they are actors doesn’t mean there won’t be miscommunication or misunderstanding. They’re not perfect. They are bound to make mistakes. Just think that because this was a very public fallout, we came to know about the disagreement, try to think that in past 15 years how many times did the J’s had these disagreements and had to deal with them without telling us? No matter how huge fan you are, no one can ever claim that they now what goes behind the scenes in the celeb’s lives and same goes with J2.

We know what kinda place Hollywood is, and the J2 tinhats already have theories about bearding and stuff, and yet the J’s have remained positive throughout. There must have been contracts and papers and the “powers that be” who are involved in regulating their lives. It’s one of the many countless possibilities. We don’t know many things about their lives (even we’d like to claim otherwise). The information we get is just a 0.01% of what actually is happening. All we do is “assume” on the basis of their SM interaction or the way J2 appear in public. It’s all imagery.

They’ve been a source for inspiration for many. So, a public fallout doesn’t mean we should overlook the past. But we choose to look at it in a way that is suitable to us. Again, there’s nothing wrong with that. If some of us feel like siding with Jared, it’s all good and if some of us feel like siding with Jensen, it’s all good. It’s their personal opinion and no one has the right to judge them or call them out for that.

For me, I’ve come to a conclusion that the secured bubble that I was living in has finally burst and given me a chance to look at things objectively. No matter what happens in future, I’m here to stay as long as I enjoy the fandom. If I let it affect me more than is plausible, perhaps then it’s time for me to rethink about the power I give the Fandom over me. Because it’s my choice. I alone have the choice to either let the negativity affect me or see the positive side. There’s a saying that goes, “You yourself alone are your own enemy and your true friend. The choice is yours.”

If J2 claim to be alright with each other, then I choose to believe them. Reason is simple. Because it helps me find some peace. It helps me cool down my emotions and helps me go back to enjoying the little things in fandom that bring me happiness.

 Don’t get upset with people and solutions because both are powerless without your reactions.

Let the drama continue....

After this, if you fell like unfollowing me, the door is always open.

In the end, whatever happens, happens for good. If it’s meant to be, then I’ll be the happiest and if it’s not, well, it’s beyond my control.

I love them both.

Peace and Love.

- A J2 fan.

[flushed-for-the-trolls]

Why I, a MHA fan, dislike the show

I’m posting this here because when I posted this on the MHA sub, I got eaten alive and every syllable scrutinized more harshly than a piece of legal documentation. You just can’t criticize this show. At. All. So here I am, on here, trying to do the same thing. I’m gonna condense my issues and only mention a few of them.

My first issues is character development. There ain’t any. There’s Bakugou and Endeavor... And that’s it? In terms of meaningful change, that’s it. I know some class 1a kids have a mini arc, but they don’t ultimately impact the story at all, so I don’t count them, they’re footnotes in the broad story, they’re just light adjustments to these characters, Yaoyorozu’s loss of confidence, Uraraka feeling like she failed and her motivations of becoming a hero, they all are set-ups for the B plot of the episodes, and are never brought up again, for this reason, I only consider those two to have any proper character development, as they span multiple episodes and seasons, and have an impact on the story itself

My second issue is Midoriya: He’s just not that interesting, is he? He had his character development in the first episode, and by the third episode, he immediately forgot what made him interesting, it was that he was an underdog, that he had a unique position in society as a formerly quirkless person given one of the best powers. In my eyes, the show would have been much more interesting if Midoriya became a vigilante superhero, reforming the broken system, and being a supporter of the quirkless, instead he became a one note character that just... Saves the day, need to put on a show? Deku to the rescue! Need to beat an A* villain? Deku can do it! Midoriya can do literally anything and everything, he’s overpowered to the peak and it makes for a boring show and protagonist when there are no actual stakes in any given battle, the final line is “and this is the story of how I became the number 1 hero”. Great way to shoot yourselves in the foot guys, now I know Midoriya will basically never die, never be incapacitated, and there is no threat to him that will yield serious, life changing consequences. Even when I was enamored by the show I never once considered Midoriya to be in any danger.

My third issue is poorly handled sensitive topics: Bullying in MHA is handled with such abysmal care I question if the writers even knew what the word meant. The world through the eyes of Midoriya, he’s been bullied ever since he was quirkless, called ‘Deku’ and tormented relentlessly. He’s been miserable, his dreams have been shattered, and no one cares, no one listens- Oh, way, what’s that? A girl said “it sound’s like ‘you can do it’?” Forget all the immense trauma and feelings of self doubt and inadequacy, it’s all good babeh! There’s no development, it’s all shoved to the side and without the slightest bit of care, they didn’t even give us 5 minutes to soak it in, nope, tactfulness? Who’s she? As you may imagine, I do have a bit of a bias against IzuOcha, BUT, just to be clear, I’d hate ANY canon (or likely canon) ship that  uses bullying in such a scummy way. And make no mistake, that’s what this is, a scummy, crude, and shameless use of bullying as fuel for a pairing.

This felt weird to include in the same paragraph, so I made a new one. The other form of abuse that’s been approved is Rei throwing scalding water on her sons face. All I will say is, If Dabi’s actions aren’t excused through abuse, neither are Rei’s. Rei abused her son, if we saw that case in the real world, we’d be outraged and demanding the harshest penalty. Rei hurt her kid, no matter what the reason is, she hurt a child that looked up to her, she’s a bad person and a bad mother, and Shoto shouldn’t have been apologizing to her, or seeking forgiveness. Rei was the victim of a monster, but she also became a monster and hurt her own child, nothing excuses this behavior. Nothing.

My final issue? The Fandom. Dear god can this fandom not accept criticism, people seem to be of the mindset that to like something is to defend it with your life. My first paragraph wasn’t a joke, people scrutinize the shit out of anything negative and will pull things out of their ass to dispel criticism, people can’t take a critical look at the series and say “yeah, it flopped in some areas, but I still like it in spite of its flaws”. Almost everyone on my post refused to acknowledge ANY faults and often got real damn combative when I was nothing of the sort, people claimed I wasn’t a true fan because I said the show was bad, as if being a fan of a show means that you must never have an issue with the show you like... Ridiculous. I used to scoff at the idea that a toxic fandom could drive you out of loving a show, oh how wrong I was

Don’t get me wrong, I still have a love for aspects of the show, but my love for it has severely diminished because of the antics of the fandom. If this post gave off vibes of incredible agitation, first, I apologize, that wasn’t my intent, and second, that’s the result of not being able to talk with others about issues with mutual interests. I understand some people may disagree, and that’s fine, but could we, like, be civil about disagreement, jk, jk, unless...

[sailormoonandme]

My thoughts regarding the Usagi/Mamoru age gap

I am writing this in response to this thread.

To be clear as crystal here, this is just my take on the situation.

With all that said, for the sake of argument let's say we are in total agreement that in real life a 14 year old middle schooler and a 17 year old college student shouldn't be dating.*

But that is the key phrase here: 'Real life'.

The thing is...there is no end of fairy tales or media aimed at children that at best start to fall apart or at worst become extremely creepy when you apply a realistic lens to it.

That is the joke about the majority of Disney's canon in fact. For instance, Aladdin was 18 whilst Jasmine was 16. I'm British and over here 16 is the legal age of consent for sex but even so I'm at least iffy on a 16 year old dating an 18 year old. And to trade off some of the comments elsewhere in the above linked thread, you could absolutely argue there was a 'mental gap' between Al and Jas given how she was a sheltered and somewhat naive princess who'd never left the palace and he was a streetwise older guy who'd obviously flirted and charmed his way out of trouble before.

But let's consider a different Disney classic, perhaps their most famous movie, the Lion King.

The Lion King is a beloved and rightly iconic movie but if you take it at face value and realistically (albeit ignoring the fact that animals can talk, sing and are capable of human emotions and cultural references) it's guilty of:

Promoting incest because Simba and Nala would have at best been first cousins (Nala being Scar's daughter) at worst brother and sister. Because that is how lions work. Male lions murder the cubs of other males with the possible exceptions of their brother's cubs where they co-rule a pride. Even with the best case scenario, deleted scenes had Scar try to make Nala his queen and those scenes were reinserted for the hit Broadway musical. So either a brother and sister hook up or two first cousins hook up and a Dad tried to have sex with his daughter.

Promoting racial/class segregation: The Hyenas are from the 'dark shadowy' place and are given traits you can easily interpret as associated with black, Hispanic, Latinex or mentally disabled people. They are also framed with Nazi imagery and it is Scar's decision to let them roam freely that causes famine. Simba beats them, they are forced back to 'where they came from' and all is well.

Promoting authoritarian absolute monarchies. That's the whole movie's plot. Simba must embrace his destiny as the 'rightful ruler' of the pridelands whereby all other animals bow down to him. It's not even like the lions are the ruling class and they are at least democratic amongst themselves, it's literally this ONE specific bloodline that is not only in charge but is SUPPOSED to be in charge. Even if the wrong person from that bloodline is in charge the entire land suffers until the 'right' person takes the throne. That's a pretty terrible and pretty anti-democratic message isn't it, and that's coming from someone who lives in a country WITH a monarchy.

And, I admit this one is a serious stretch, but you could even argue that it's saying two men raising a child is a detriment to said child. Because Timon and Pumba raise Simba into an adult and the movie is very clear that he's grown up wrong, he is not the person he should be because he's embraced Timon and Pumba's upbringing.

So you see...the Lion King is mega terrible.

Except it isn't.

Because we all have the cognitive ability and understanding to grasp that you are not SUPPOSED to take it that realistically nor at face value. Even as children we grasped that, hence the generation that grew up with the Lion King (by and large) obviously don't think incest is okay, don't oppose same sex couples raising children, don't think segregation is a good idea and clearly do not think monarchies are the bee's knees.

Maybe as kids people couldn't put it into words, but material like this essentially exists in this realm of symbolism, psychological shorthand if you will.

In fact all fairy tales do that.

And Sailor Moon IS a fairy tale, or at the very least it borrows a whole lot from fairy tales.

In addition to being a fairy tale though Sailor Moon is a wish fulfillment fantasy story intended for a female audience (or at least a predominantly female audience).

Now of course what one woman's wish fulfillment fantasy might be may not be another's and I wouldn't be so presumptuous as to argue that Sailor Moon even clicks with the wish fulfillment fantasies of MOST female audience members. But I think it's fair to say from the cultural impact it has had, and how it's fanbase is clearly mostly made up of women, that the wish fulfillment fantasy it offers clicks with a sizeable enough number of women.

The reverse is true of something intended as a male wish fulfillment fantasy. James Bond was obviously intended as a male wish fulfillment fantasy, and it's success speaks to how it clearly clicked with a sizable enough number of people. And I don't think I'm being overly presumptuous here when i say MOST of those people were male.**

Both SM and 007 are wish fulfillment power fantasies but they are also romantic/sexual fantasies too.***

I don't think it's unreasonable to argue that for a sizable number (but not necessarily the majority) of women, including the tween/teen girls SM was aimed at, having an OLDER lover is a romantic wish fulfillment fantasy. On the flipside I don't think it's unreasonable to argue that for a sizable number of men and boys having an endless string of casual and completely consequence free sexual encounters with (traditionally speaking) gorgeous women who find you incredibly attractive is a sexual wish fulfillment fantasy.

And the thing is BOTH those things can become bad when you apply a realistic lens to either of them.

James Bond's sex life realistically would involve at least a few sexually transmitted diseases, unintended pregnancies (one of which occurs in the novels) and at least a few callously broken hearts. Even when you look at it strictly from Bond's POV that life only seems glamorous at first glance. Perhaps it is a fun fantasy, but only when it remains in the realm of fantasy. Because in real life that kind of life if lived long term is ultimately incredibly empty and unfulfilling. Even James Bond media has acknowledged this because there have been occasions in the novels and films where he has at least attempted to settle down with a stable partner. Many Bond fans (understandably) decry this as undermining part of the appeal of the character hence Bond inevitably defaults back to being single because that is a baked in part of the wish fulfillment fantasy the character offers.

Let's consider some other ways the Sailor Moon anime offers a wish fulfillment fantasy, namely the future of Crystal Tokyo.

At first glance it seems wonderfully utopic right. It is a beautiful crystalline world where everyone lives in peace and harmony, hunger disease and even aging having been functionally eliminated.

Well, that isn’t the case if you apply a realistic lens to it.

It's an absolute monarchy wherein everyone is functionally immortal and children don't reach maturity even after 900 years. Chibi-Usa clearly chafes at this reality so how do you imagine other children (who aren't royalty) might feel? How might their parents feel having to raise their children and be responsible for them for centuries as opposed to around twentysomething years? What if you became immortal in your 80s, you might be a very healthy 80 year old but you aren't in the prime of your life and you are stuck that way for what is essentially forever. Not to mention what if you don't like or do not agree with Neo-Queen Serenity's policies? What if they are actively detrimental to you, your family, your livelihood, etc? You can't vote her out of power and you can't even hope for things to change because everyone is healthy, provided for and lives forever. The chances of someone else coming to power are at best very, very, very slim.

Then you have the fact that it’s surely a society that would’ve stagnated because everyone is provided for. That’s the whole point of a utopia. It is perfection. But what if you are someone who defined your live by striving for improvement? What if you were a doctor and now found yourself redundant. Sure, you might acknowledge that’s for the greater good but you are still yourself left completely without purpose in this world.

And that’s not even considering the inevitable monotony of existing for hundreds of years. Modern medicine and science has allowed human beings to extend their life spans FAR beyond how long we’d live if we were still just cave people. As biological organisms are concerned we never evolved to live for 80-90 years. Even if your body isn’t breaking down across the centuries the human mind would never realistically be able to cope with centuries worth of memories and life experiences. Mental illnesses and conditions would be rife. If nothing else living in that world would sooner or later become utterly BORING!

Hate to say it and obviously it doesn’t justify their methods, but the Black Moon Clan kind of have some valid points against the world of Crystal Tokyo. At least they do when you break things down REALISTICALLY.

And that’s my thesis here. Sailor Moon isn’t supposed to be dissected realistically, at least not to THAT degree. It is a wish fulfilment fairy tale fantasy and demands a certain amount of suspension of disbelief and understanding of what the fantasy is offering.

And for the record I can 100% assure that no teenager in real life has, or could, ever get into a harmful relationship with someone older than them BECAUSE they watched Usagi and Mamoru’s relationship in the anime.

The human mind is a very complex and very powerful thing. At a younger age it’s impressionable and can therefore be influenced. But it’s not so susceptible that the romantic relationships in a cartoon about schoolgirl super heroes is going to influence a viewer into making any major life decisions that OTHER factors weren’t also influencing them to do.

In other words if a real life 14 year old girl began dating a 17 year old college guy it would’ve happened regardless of whether they watched Sailor Moon as a child or not.

Indeed, one of my frustrations with the podcast Sailor Business is how many guests on the show cite how they liked Usagi and Mamoru as children but now think their relationship is bad and creepy. I disagree with them for the reasons I cited above, but the fact that those panellists nigh universally give that same narrative proves how nobody was ever going to be prompted to do anything potentially harmful to themselves in real life by the show.

*Personally speaking that is certainly my own off the cuff attitude.

**Not to dismiss the fans who aren't, same goes for the non-female SM fans.

***Although I think you could argue SM is more on the romance side of things and 007 on the sexual side of things.

[violethowler]

The Elephant in the Room

In my previous essays, I have covered how the Kingdom Hearts narrative follows Maureen Murdock’s template of the Heroine’s Journey, as well as how various characters and story elements tie in with the overarching themes of the framework. Before I can continue to dig further into other themes and archetypes, there is something I need to address first. While I have avoided directly touching on the topic in my previous essays, I have now reached the point where it is no longer possible to talk about the Heroine’s Journey in full without acknowledging the elephant in the room: 

Romance.

In ongoing serialized stories such as TV shows and video games, conversations about potential relationships in canon are often treated as inconsequential to the overall story. Something that is separate from the main plot. At worst, I have seen fans who openly center a ship in their analysis and theories be dismissed and criticized as biased - or worse, delusional. They are treated as being so obsessed with their pairing that they try to make everything about their ship and jump on any excuse to declare that it’s viable in canon. 

Among the Kingdom Hearts fandom in particular, this has often taken the form of someone trying to dismiss other fans’ hope for a ship to be canon by saying that the series is about friendship, not romance.

While friendship is absolutely an important theme in the Kingdom Hearts series, to insist that this is mutually exclusive from depicting the development of romantic relationships ignores the continued presence of canon Disney romances in almost every game in the series. In each “main” game where Sora is playable, he has directly or indirectly been involved in getting those Disney couples together in the KH universe. So it’s not out of the realm of possibility for the series to turn the tables and give some attention to his romantic interests for a change. 

A story having other major themes is not mutually exclusive from showcasing the development of a romantic relationship. There are many popular movies, shows, books, comics, and video games in which a romantic relationship plays a central role in the narrative but there are still other plotlines going on that are equally as important as the romance. This is especially true for Disney and Square Enix.

The reason why it’s impossible to fully talk about the Heroine’s Journey without acknowledging romance elements is best encapsulated by this quote from She-Ra showrunner Noelle Stevenson about her show’s endgame pairing in an i09 interview after the release of the final season:

“The show’s not a romance show. It is about a lot of things. It’s about choice, destiny, fighting, tyrants, you know, all of these other things. I grew up with so many stories—like sci-fi and fantasy—that I was so passionate about. And it would be considered no big deal to have the hero get the girl and to have a kiss at the end, without it suddenly becoming a romance or ‘Oh, the shippers got what they wanted.’ It was just a part of the story. And to actually see it be a central part of the plot and to fulfill the arcs of the characters in a way that felt satisfying. I really want to take it beyond ‘Oh, the shippers got what they want.’ Like, it’s not just a ship for me. It is a plot point. It is the necessary conclusion of each character’s arc, separate and together.[1]”

While not every story known to follow the Heroine's Journey features a romance for the main protagonist, those that do make the romance an integral part of the narrative. It’s not something thrown in at the end to please shippers, but a central component of the story. Therefore, when analyzing a Heroine’s Journey story, it is vital to acknowledge and discuss textual support for potential romantic relationships in order to have a full understanding of the narrative.

Even if one is not aware of the Heroine’s Journey, Sora’s repeated interactions with Disney romances indicate that there is a high probability that he will be in a romantic relationship himself by the end of the series. Every story I know of that follows the Heroine’s Journey broadly adheres to a pattern in regards to how the romantic relationships of a main character are set up.

By examining the series through these patterns, we can narrow down who Sora’s endgame romantic partner will be. 

Because the themes and character dynamics emphasize resolving internal conflict through balance, the Heroine’s Journey lends itself extremely well to Beauty-and-the-Beast, rivals-to-lovers, and enemies-to-lovers relationship dynamics. A major component of the Heroine’s Journey is the main character learning to accept themselves, and since the Animus as a Shadow figure can represent the parts of themselves that they haven’t accepted yet, it is simpler to symbolize that self-acceptance via a romance with the Animus rather than attempting to build a separate relationship on top of the existing story framework.

For these reasons, the Animus is more often than not the main character’s endgame love interest, their feelings for each other made into critical aspects of their respective character arcs. The only Heroine’s Journey stories with romance that I know of where this wasn’t the case are ones where executive meddling resulted in the finale being rewritten to kill off the Animus despite established narrative set up for them to have a happy ending together[2], while the protagonist was either forced into a relationship with a different character or left single.

And like I said in previous essays, the one character in the series who fulfills all criteria for the Animus role within this storytelling framework…. 

Is Riku.

[Image Description: Sora supporting Riku as they walk toward the ocean on the Dark Margin at the end of Kingdom Hearts II. End Description.]

As mentioned in my earlier analysis, this narrative framework emphasizes the importance of balancing contrasting attributes, which fits in extremely well with Kingdom Hearts’ focus on balance between light and darkness. For stories that follow the Heroine’s Journey in a visual medium, that dichotomy is often incorporated into the characters’ look. Height differences are common, while their color schemes and outfits are designed to make them complement each other. Further adding to the focus on balance between light and darkness, the visuals of the story frame the romantic leads with imagery associating each one with light or darkness to create Yin-Yang symbolism when they are finally in balance. 

In Re: Chain of Memories, Vexen openly calls Riku the “Hero of Darkness[3]” as a counterpart to Sora’s role as the “Hero of Light”, and their combination attack in Kingdom Hearts II utilizes moves that reflect both elements. In the Ultimania for the original game, Tetsuya Nomura said that Riku’s look was intentionally designed to balance Sora’s[4], and the contrast between their respective color schemes is maintained in each of their new outfits. In Kingdom Hearts II and Dream Drop Distance, Riku wears white and blue, while Sora in those same games wears black and red. Two different pairs of contrasting colors. Kingdom Hearts III has them both in outfits that are primarily black and grey, but still emphasize the blue and red that have been part of their respective outfits since the first game. 

In a Heroine’s Journey, the love interest is typically an active character in the story and usually serves as the deuteragonist. This fits with Riku having been a mandatory playable character in multiple games since 2004. In addition, series producer Shinji Hashimoto said before the release of the HD 1.5 Remix collection[5] that the main focus of the series is how Sora and Riku develop both as individuals and as a pair, which fits with how the central conflict of the Heroine’s Journey revolves around the dynamic between the Protagonist and their Animus. 

A common viewpoint held by many fans of the series is that Kairi is Sora’s love interest, and it’s not hard to see why people get that impression. He has sacrificed himself to save her in two separate games now. He’s charged enemies head on in order to rescue her whenever she’s been captured. He even got down on his knees and begged for her freedom when Saix demanded he show how important she was to him. Multiple characters have talked about how special she is to him, and Roxas refers to her as “that girl he(Sora) likes.” 

However, there are multiple elements in the narrative that point to them not being the endgame romance. Kingdom Hearts III foreshadows the final shot of them sitting on the paopu together at the end of the game with Sora disappearing from the cover of the 100 Acre Wood storybook, textually framing Winnie the Pooh as a parallel to Kairi. While many fans regarded their sharing paopu fruits in the base game as the beginning of a relationship between them, he still only refers to her as a friend in Re:Mind, and even compares his bond with her to the bond between Ventus and Chirithy. 

Sora also does not treat his promises to her with the seriousness he would if they were going to end up together. The promises to return her lucky charm and to come back to her that he makes in the first game are never treated as anything urgent when he awakens in Kingdom Hearts II. Instead, he declines the opportunity to return to the islands and check in with her in favor of searching for Riku. When Kairi says in The World That Never Was that they’ll be together every day, Sora agrees, yet he was content to spend the rest of his life on the dark beach at the end of the game as long as he was with Riku. 

Meanwhile, the most consistent theme regarding Kairi in relation to the Destiny Islands trio is the idea of childhood friends drifting apart as they get older[6][7]. This is particularly highlighted in Kingdom Hearts III, with Kairi writing letters to Sora that she never sends, thereby keeping her thoughts to herself. Merlin also emphasizes this when he talks about forging new connections after Sora’s visit to 100 Acre Wood. This parallel frames the ending of Re:Mind as the two of them recognizing they’ve drifted apart and choosing to put in the effort to renew their friendship by spending time together.

On a structural level, her portrayal does not fit with how love interests are typically depicted in the Heroine’s Journey, both as an individual and in relation to the main protagonist. There is no contrast between her and Sora’s designs or roles the way there is between his and Riku’s. Her color scheme is predominantly pink, which does not have the same contrast with Sora’s red as Riku’s blue. Because she’s a Princess of Heart, there is no dark and light contrast, and the combination attack she shares with Sora in Re:Mind only utilizes light-based moves. It took 17 years after her first appearance in the series for her to be made a playable character, and even then, playing as her is not mandatory. They are never portrayed as equals, and she is not an active force in his emotional growth. 

The Heroine’s Journey was crafted for narratives revolving around identities that have been Othered by society for one reason or another. Murdock designed her template as a tool to help women deal with being shamed by society for expressing and pursuing their desires. In a similar way, LGBTQ+ people also face stigma from society for expressing and pursuing their desires. So it makes perfect sense that a framework for narratives of people overcoming internalized stigma against important parts of themselves would be ripe for stories featuring LGBTQ+ protagonists of any gender.

As mentioned in previous essays, stories that follow the Heroine’s Journey challenge the biases and blind spots of the audience. A relationship between Kairi and Sora does not challenge anything because she has largely been regarded as the endgame love interest by default since the beginning. Meanwhile, a romantic relationship between Sora and Riku challenges players to recognize heteronormativity within themselves and in the media around them. It challenges people to examine the lens through which they perceive the story and rethink how they look at what’s happening in the narrative.

In summary, the portrayal of Kairi and her bond with Sora is not consistent with how love interests are commonly depicted in the Heroine’s Journey, while the portrayal of Riku and his bond with Sora is. If Sora’s story is going to continue on this storytelling formula to the end, the structure of the Heroine’s Journey narrative leaves Riku as the only thematically viable candidate for the role of endgame love interest. 

Now, as some people bring up in conversations about Soriku, there is a potential obstacle in the form of corporate executives. It is entirely possible that Disney will drag their heels and try to force the development team to downplay or remove any open same-sex relationship the series may try to depict. They do not have a strong track record of LGBTQ+ representation that isn’t a minor character who only appears for one scene. Given that their last IP to follow the Heroine’s Journey - the Star Wars sequel trilogy - crashed and burned at the end, executive meddling is my greatest fear for this franchise.

But the thing to keep in mind is that Tetsuya Nomura is stubborn as hell. One of the reasons the long gap between Kingdom Hearts II and Kingdom Hearts III was because he was holding out for permission to include Pixar movies in the game, outright refusing to start work on KH3 until they were given that go ahead[8]. If you want further proof of how stubborn he can be, this is how he described the meeting where he first pitched the series to Disney in a 2012 interview with the late president of Nintendo[9]:

Iwata: Their ideas were different from yours, naturally…

Nomura: Yes. They appeared to believe that we would make whatever they wanted us to make and came up with rather specific requests such as, "We'd like the game to feature this character." They were really excited, explaining their ideas... To be honest, though, I wasn't really interested in any of them. (laughs) 

Both: (laughter)

Iwata: You wanted to borrow Disney's characters in order to make a new game that could compete with Mario 64, and you already had a vision of what this game would look like. I suppose their ideas didn't fit in with this vision.

Nomura: They didn't, no. In the end, I actually stopped a presentation halfway through. We didn't have that much time, and it looked like it was all going to get taken up by various Disney presentations. So, I interrupted them and told them the conclusion by saying, "I won't make such games."

Talk about nerves of steel. This man basically said “we do this my way, or we don’t do it at all” TO MOTHERFORKING DISNEY, AND. HE. WON. If there is any human being with enough force of will to make the Mouse House cave in and allow the depiction of an openly LGBTQ+ relationship in the Kingdom Hearts series, it is Tetsuya Nomura.

I cannot say with 100% certainty how things will go. But everything I know about storytelling patterns and narrative structure is telling me that Kingdom Hearts is a textbook Heroine’s Journey with a romance between Sora and Riku at its core. A relationship between the protagonist and the Animus does not truly begin until the “Integration” stage at the end of the Journey, and we are rapidly approaching the point in the narrative where the two leads traditionally become aware of and acknowledge their feelings in order to be on the same page for the finale.

Sources: 

[1] “She-Ra's Noelle Stevenson Tells Us How Difficult It Was to Bring Adora and Catra Home” May 18, 2020

https://io9.gizmodo.com/she-ras-noelle-stevenson-tells-us-how-difficult-it-was-1843419358

[2] “Death of a Dark Youth, Desecration of the Animus”; December 20, 2018. https://www.teampurplelion.com/death-of-a-dark-youth/

[3] Kingdom Hearts Re: Chain of Memories. Square Enix, 2007. 

[4] “A Look Back: Kingdom Hearts Ultimania Gallery Comments Part 1″; August 30, 2019;

https://www.khinsider.com/news/A-Look-Back-KINGDOM-HEARTS-Ultimania-Gallery-Comments-Part-1-15519

[5] “How Kingdom Hearts III Will Grow Up With Its Players;” September 24, 2013.

https://www.ign.com/articles/2013/09/25/how-kingdom-hearts-iii-will-grow-up-with-its-players.

[6] “E3 2018: Tetsuya Nomura on If Kingdom Hearts 3 Is the End of Sora's Story”; June 14, 2018.

https://www.ign.com/articles/2018/06/14/e3-2018-tetsuya-nomura-on-if-kingdom-hearts-3-is-the-end-of-soras-story

[7] “Character’s Report Vol. 1 Translations”; Jul 16, 2014

https://www.khinsider.com/forums/index.php?threads/characters-report-vol-1-translations.195560/

[8] “Edge Magazine Features Kingdom Hearts III Cover Story”; January 9, 2019. https://www.khinsider.com/news/Edge-Magazine-Features-Kingdom-Hearts-III-Cover-Story-14331

[9] “Iwata Asks: Nintendo 3DS: Third Party Game Developers, Volume 12: Kingdom Hearts 3D [Dream Drop Distance], Part 2: It’ll definitely be fun”; April 2012. 

https://iwataasks.nintendo.com/interviews/#/3ds/creators/11/1

[cowboylikedean]

Now that I’ve had time to sit with all of this, my feelings are.... complicated.

The thing is... I was finished. I was done. I watched seasons 11-14 out of respect for my past, my history, my time, my life. I was watching season 15 out of respect for the show. To see it out to the end, to give it the opportunity and respect to be finished. But I was already done. 

And then they did one of the three (3) things that could bring me back. 

And I feel so... manipulated? 

I kinda feel like Buffy in season 6 talking about coming back from heaven. “I was finished, complete. And I was happy. But I was torn out of there, ripped out... by my friends.” 

Because I was happy. I was happy in that I had made peace. I knew that I loved the original seasons 1-5 arc, that my favorite season was 7, that season 8 was when I started to really not enjoy myself, that season 9 is when I lost all ability to enjoy the show, that I only watched season 10 for the 200th and the nostalgia presented in that episode was fun, but it carried me for two or three weeks and then.... I let go. I had made peace with never getting that back. I was never going to watch this show and have fun again, unless I was rewatching 1-7, and that was okay. I didn’t need to enjoy it. I didn’t need anything. The writers were terrible and I knew that but it was okay. I didn’t have to trust them or have faith in them or generally give a shit because they were bad writers phoning it in for a pay check and that’s fine... If you can, you can I guess. I mean it’s bullshit but like I was okay. 

But now.... Now I care again. Now I need and want something from them. Now I’m worried about the fact that I don’t trust them and I think they’re all shitty writers phoning it in for a paycheck because now I care about what happens. 

And I’m pissed. 

Because out of those three things, they chose the ONE that I resent the most. 

Those three things are (1) They kill Sam. This is clearly my favorite, and if they were gonna do one I wish they’d done this especially if it was at Dean’s hands. He’d never have a happy ending after killing Sam, but I would. (2) They kill Dean. This would have been a cut and dry “let’s go kill someone” charge. I would have had my appropriate moment of outrage and disgust. I’d be seeing Sam-stans and Cas-stans write their long metas about how “it’s actually a perfect ending for Dean” and see destiel wannabes write their mourning fics like it was cute and be justified in every spec of anger I’ve ever felt. 

But they chose (3) Destiel goes canon. I get no satisfaction from this... But I do get my sense of nostalgia played upon. I get used for views with nothing in return. Well... Maybe that’s not accurate, I get something, but it’s not... 

I stopped shipping destiel 2 seasons before I finished watching. Season 8 was the last time I shipped it in any serious fashion. I sat through the wild and incredible queerbaiting that was Jeremy Carver’s run of the show.... and honestly for what?! I was here in the hiatus between seasons 7 and 8, leading up to what we, the fandom, called “season gr8″ which it was only named because of queerbaiting. And I fell for it. I drank the koolaid every single week in season 8. I wrote metas and posts, my fb memories are filled with posts insisting that “this would be the week.” 

“It’s not queerbaiting if they make it canon,” I’d say. “It’s a slow burn, a long build. A will-they-won’t-they.” I felt like my fellow fans who were getting increasingly more aggressive with the cast and crew had just “lost faith.” that if they saw the big picture, that Dean and Cas were an epic love story that didn’t need immediate payoff, they could enjoy all the little moments we were getting without demanding more. 

By the time I left the show, I no longer expected they’d make it canon... but more importantly, neither did I want them to. By that time, Dean had been put through the ringer being the emotional support for every character, the punching bag, the background to everyone else’s stories because no other actor could pull the emotion Jensen could. Dean had everything he had despite the other characters’ stories and emotions. He was seen by the fandom and most of the writing staff as a filler, an extension. He was one half of a relationship - romantic or not - not his own person. He was “the dumb one” and characterized in really stupid ways. You can see it as recently as 15x16 when a writer who has written one other episode of the show and clearly never actually watched the show especially the flashback episodes. Dean was a caricature, not a character. And Cas... Cas was written with increasing amounts of fanservice too. He went from a powerful being trying to learn to balance his sense of angelic responsibility with love of the Earth to being a whiny crybaby who was generally helpless to circumstance. He was written in such a way where he both leaned on Dean to give him purpose and validation while also completely ignoring everything about Dean that made Dean Dean. 

As the seasons have gone on, this has gotten more apparent. I think what happened with Mary and Dean kicking Cas out the bunker earlier this season (which was also written by Robert Berens btw and if it’s true he wrote the confession scene first in the season - he wrote this scene after that one) is a perfect example. Dean’s criticism there is that Cas doesn’t trust him. When shit is hitting the fan, Cas expects Dean to react in the worst possible way he could, so he refrains for telling Dean vital information and asking for help while he looks for a solution by himself so Dean never has to know there’s even a problem. Then something goes wrong and Cas is always left there saying he’s sorry, that he shouldn’t have done that... But he never seems to learn, or trust Dean enough to do something different next time. And that time, the lack of trust killed Dean’s mom. The narrative and the fandom both treated Dean as irrational and overly emotional - the bad guy - in that situation. Dean shouldn’t have done that.

But like what the fuck should he have done??? I’d have killed him. Or cut him out for good... like for good for good. How toxic is it to have someone in your life who repeatedly ruins your life by not trusting you with a problem that could be dealt with collectively, but not alone? 

And we’re going to what... retcon all of that? By bringing destiel into this, all the reasons I haven’t shipped it and I’ve considered Cas to be one of the most insidious abusers in this show are what? What am I supposed to do with them? 

It’s no fucking wonder the script says Dean can’t reciprocate! Because how could he? How can they really justify Dean expressing his frustration at being manipulated and lied to for 11 years at the beginning of the season and expressing undying romantic love at the end of the season? 

But this isn’t about narrative sense. It’s about an ending. The whole season is about endings... and writings... and god and death to the author... The metas flying around about “god” and “the writers” are all spot on... And so, it doesn’t matter. The message is the story is what we make it, not what they do. And therefore, they call upon destiel as the greatest example of the fandom finding a story within the story that wasn’t being told. 

Except that’s not true. Because it has been being told, just not with any intention of payoff. It’s been queerbaited and intentionally so. “It’s not queerbaiting if they make it canon” is a lie. It is still queerbaiting if they never intended to make it canon! And it’s not okay. 

But here I am, two episodes to go and then that’s it. There are no other opportunities for them to make canon honor that unspoken promise to the viewers. This is it. And endings do matter. Despite the message of the season being generally that endings aren’t important. That the story, the push and pull, the free will of the characters to run away with the story and bring the writers and audience to new places, the interaction between audience and story and the life they run away with, that those are the important parts of stories and storytelling... But that just isn’t true. It’s a romantic notion that endings are just silly things we tack on our stories that confine us, that the real stories are within us... but we consume these stories for the payoff of the ending. An unsatisfactory ending can completely ruin a work; just ask HIMYM. 

So then this is my last chance... My last chance to feel the release of payoff of a relationship I was intentionally inspired to care about without an intention of payoff. This is my last chance of vindication for all that emotional time and energy spent. 

So I’m hopeful and I’m transported back to 2012 and 2013 when I cared. When I believed. When every week felt like a possibility. When it felt like it could really happen. And most importantly, when I wanted it to. Because I do want it to now. I have actively not wanted it to for 6 years, but now is my last chance and it very well might happen so now... I want it.. 

And the way they did it... With giving Cas his moment, but leaving it open for interpretation... IT’S SO CALLBACK QUEERBAIT. AND callback toxic Cas. Cas lays this on Dean and then yeets off? And tells Dean that it’s because Cas loves him that he’s going? Every single part of Dean’s emotional history and trauma makes that evil, but Cas does it to him? And I’m hoping he’s not mad for the sake of the payoff of the relationship?!?!?!??!?! 

Are you fucking kidding me?

And then also I wanna circle back to the queerbait of it all. Misha acknowledged today that there’s some room for interpretation here. And I don’t know how that gets resolved in the final two episodes, if it does... BUT THAT’S THE FUCKING POINT!!! I will be watching live, as it airs, for the first time in 7 years, one week before I intended mind you, because I’m being baited with the promise and hope of explicit payoff that doesn’t leave room for interpretation???? And that’s not queerbaiting??? 

The whole thing is ridiculous and manipulative and just generally awful, but I’m eating it up because I don’t really have the luxury of another choice. Because hoping for payoff is the best option I’ve got. 

I hope I get to justify my past self and see all of that payoff and feel that vindication for the part of me that loved destiel, but I consider destiel to be the number 1 thing that ruined the show for me. So it will be a hollow victory, for sure. And that’s if there’s even a victory, which isn’t a guarantee. 

I just feel so used right now. 

[lilytriestoexist]

Erawan With Bangs: A Sequel

I was stressing myself out over a physics assignment involving eyeballs so I decided the ideal stress relief was...writing fanfiction about EWB. Again. Really, it’s all physics’s fault. Also, I haven’t read all of K0A, so this is nowhere near what actually happened in canon, but it's probably way cooler. Featuring: @crescentcitysux @croissantcitysucks and @antisjmmemes. Obligatory tag: @erawanwithbangs . And it’s 12am here, so goodnight lol. (i think i 'peaked' with the first one. also, tw/ erawan kills people and there's talk about blood)

His new look, Erawan decided, was the most powerful weapon in his disposal. It had struck his Valg Princes and common underlings speechless with its sheer magnificence. Not one person had spoken out against his mighty bangs, for they were faultless and flawless, and most definitely not because he had snapped the neck of the sole demon commoner who had given his hair a displeased side-eye. No, the people had spoken, and his bangs were glorious. 

But while he and his bangs carried his side of the war to victory after victory, Maeve was not doing as well. The nasty brat who styled herself a queen - what was her name, Alien? Ayla? No, it was Eileen. Yes, Fire Queen Eileen had escaped from Maeve’s clutches and was reunited with her mate, Ronan, her cousin Adrian, her friend Lydia, and a few other Fae males whose names he couldn’t remember. They all started to blend together after a while, anyway. The last he’d heard from Maeve through their Valg bloodlink, Eileen’s court was a thorn in her side, and one she was determined to rip out and incinerate. Erawan had opened his mouth, intending to ask about her strange obsession with Eileen and Ronan’s romance, but he’d caught a glance of his bangs in the tableware and decided he had other priorities. A strand of hair was longer than the others in his otherwise immaculate bangs; Maeve, Eileen, and Ronan could wait. 

Anyway, the point was that Maeve was not doing great, but he was doing pretty great, and so the clear resolution to this was to go help her out. Which was why he was here, using his powers a few metres off the ground, skin bleeding wisps of shadow. His bangs flapped in the gentle breeze as he lead his army forward to meet Terrasen’s own, smirking as it registered on their puny faces that he himself was leading his forces. Shock, fear, horror, and resignation flitted across their tiny faces in quick succession, but still they raised their weapons and charged, foolish bravery etched into their bones. A slow grin spread across his face, revealing sharp, gleaming teeth, as black swallowed his eyes whole and he leapt forward. 

After a while, severing heads from bodies and tearing organs from beneath fragile skin got boring, and the spurt of blood from open wounds no longer gave him a similar rush of satisfaction. How easy it was to steal life from humans, to toss them aside like puppets with cut strings. He had lived thousands of their short lifetimes, and he would live thousands more.

“ERAWAN!”

A cry rang out through the battlefield, and he looked up,  brows raised, as he shoved aside the latest victim of his dark, blazing whips. And speaking of blazing, Eileen was making her way across the grass, stepping over the dead and dying bodies of her soldiers, twin flames surging from her upward-facing palms and casting warm light across her pale face. Sunlight gleamed off her gold armour, and a matching broadsword hung from her belt.

“Eileen.” He gave her a nod of acknowledgement, but she just stared, jaw dropping.

“Did you just call me Eileen?”

Erawan blinked, unimpressed. “That’s your name, so of course I did.”

She spluttered, flailing her hands around and sending tiny embers of glowing orange fluttering through the air. “I - my name is AeIin!” she snarled, baring her canines.

He gave her a long, hard stare. “I’m going to call you Eileen,” he announced. “Because you look like an Eileen.”

“AeIin!” A hawk came swooping down from the clouds and transformed into a man with short white hair and word-like tattoos sprawled across half his face, Eileen’s apparent name spilling from his lips. 

“Ah!” Erawan looked him up and down. “You must be Ronan.”

Ronan pressed two fingers into the inner corners of his eyes, just below his brow-bones, and ignored him. “AeIin - “

“I told you not to come, Rowan,” Eileen snapped. “This is between me and him.”

“Ronan can stay if he wants,” Erawan said. “The more the merrier. I’ve always enjoyed slaughtering Fae. Do you happen to have any friends you could bring along?”

“Rowan, I can do this,” Eileen said, staring deep into his eyes before surging up to meet him. Erawan averted his gaze as Ronan returned her action with equal fervour, coughing into his hand and whistling a tune, tapping his foot in time with the clashing of metal on metal and the haunting song of warfare that flooded from the still-raging battle.

When he turned back around, they were still going at it. With a growl of annoyance, he sent a snaking tendril of darkness and made it slap them away from each other. 

“Are you done?” he demanded. “Less making out, more taking out.”

Ronan looked torn, but finally turned back into a hawk and took off into the air, flapping his great wings and circling the battlefield before something caught his eye and he flew until he was only a small speck against a sea of blue. 

The glow of an approaching fireball made him look at Eileen’s face, twisted into a grimace of determination. He batted away the fireball, sending it careening into one of her own soldiers and grinning as the poor man was turned to ash, but she kept them coming - fireballs that shifted between red, orange, and yellow every time he blinked, massive walls of flame that engulfed the nearby area, since thankfully people had the sense to stay away, whips that mirrored his own favourite attack that tried to wind around his arms and lash out at his legs. 

When she jumped deftly over a rippling wave of night and curled her fingers, conjuring another fireball and flicking it at him, his hand rose to hit it away, like he had for all the others. But this one had been aimed higher than his chest, and his fingers skimmed through air. Instinct kicked in, sending him skidding to the side as the fireball just barely missed his head and continued through the air. Erawan breathed a sign of relief, hand reaching up to caress his bangs and summon good luck.

He knew something was wrong when he felt plain skin instead of the comfort of his bangs, lovely and golden and smooth as the finest silk. His gaze turned to the floor, where strands of hair floated to rest on the grass, burnt off by the fireball. He barely registered Eileen taking advantage of his momentous loss, but his powers kicked in, a shield springing up between them.

Erawan sank to his knees, touching his fingers to what was left of his poor, poor bangs. The colour had been swallowed by ashy black, and a thin line of smoke wafted from the debris, twisting and twirling in the air, mocking him. Eileen was still hammering away at his shield. His hand went back to his forehead, measuring the wideness, touching where the hair had been burnt off. He could feel the tight coils of agony scrape against his throat, against the writhing walls of his stomach, and all he could do was let it out.

Darkness erupted from him as he screamed, pouring out all his pain and grief and agony into the one sound, loud and high-pitched and thick with mourning. It did not go to attack Eileen, though she took cover beneath a cocoon of flames, nor any of her followers. Instead, it danced around the blood-stained field before coalescing into a ring of black, rotating in mid-air, a thin glowing sheen of white barely visible within. His magic, acting on its master’s inner thoughts, summoning the only people who might understand.

Aelia, Lyn, and Salty appeared, stepping out of the portal and descending to the ground, confusion apparent on their faces as they took in Eileen, blanketed in protective flames, to the battle that was in the process of resuming, to him, hunched on the ground and shaking.

“Erawan with bangs?” Lyn asked, prodding at his shoulder. Another tortured cry ripped itself from the crevices of his throat at the cruel reminder, and she jumped, exchanging concerned glances with her companions. “Uh, Erawan?”

“It’s gone,” he murmured, covering his massive forehead with his left palm. 

“What’s gone?” Salty asked with a frown, before realisation filled their eyes. “Oh no. It’s gone, isn’t it?”

“The bangs,” Aelia breathed, and winced as he howled yet again. “Okay, you can stop doing that now. How did it happen?”

“Her,” he whispered, limbs stiffening. “Her.” He pushed himself off the ground and extended a single trembling finger at Eileen, who extinguished her flames and blinked at the new arrivals and his fragile state.

“I didn’t do anything,” she said, embers flying from her fingertips in warning. “He’s trying to take over the world as we know it, I’m trying to stop him. I don’t know what lies he’s fed you, but it’s not true.”

Lyn waved a dismissive hand in her direction. “He hasn’t told us anything.” she said, “and he doesn’t need to. We already know what those in this world are doing with their lives, and I’m not a fan of either camp.”

“What?” Eileen’s brows shot up. “But I’m right! He’s literally an evil monster!”

Salty shrugged. “And you’re an annoying bitch who’s expressed take-over-the-world desires. I think both of you aren’t great. And I don’t really care.” Their expression hardened. “What I do, or did care about were those bangs. Those glorious, glorious bangs.”

“Always in our hearts,” Aelia said, resting her palm over her chest solemnly. “You will never be forgotten, bangs. We will remember you forever.”

Eileen sent a massive wall of flame at them, apparently losing her temper, but Lyn snapped her fingers and it disappeared. Eileen’s second attempt met the same fate, and then her third and fourth as well.

“You know, Erawan without bangs,” Aelia said.

“Yeah?” he replied, choking back a sob.

“I think we should give - wait, what’s this girl’s name? I thought it was AeIin.”

“No, it’s definitely Eileen.”

“Well, maybe we should give Eileen a little payback. You know, as a treat.”

A second later, he had strode over to where Eileen was desperately sending fireball after fireball at a cackling Lyn, his own night black flame cradled in his hand. She had no time to react before he’d coaxed it to leap through the air and onto the ends of her hair, crawling up the strands of gleaming blonde until her whole head was lit up, apart from the strands of hair that hung in front of her forehead. She screamed and writhed, but he had tendrils of shadow wrapped around her wrists and ankles, and more strips over her neck and chin, keeping her head immobilised. Within a minute, all her long hair had been eaten up, apart from the area he’d left untouched. She was almost completely bald, her hairless head shining like an egg.

“Here,” Salty said, handing him the pair of scissors he kept in his bedroom. “Don’t ask any questions.” He didn’t.

“Get away from me,” Eileen sobbed. “What are you doing, get away, get away!”

“You must face the consequences of your own actions,” Lyn declared, poking at Eileen’s pointed ears and looking very unimpressed. 

He balled up all his rage and grief at the loss of his bangs, steadied his hands, and began cutting. Eileen dissolved into a string of whimpers as he ruthlessly cut her the worst fringe he could imagine having, all ragged and crooked lines, with no layering to break up the monotonous fall of hair, almost covering her eyes. When the final chunk of blonde fell to the floor, he waved his hand, ensuring that no strand of hair outside of his ugly fringe would ever grow on Eileen’s head. Aelia, Lyn, and Salty then each placed a finger on the fringe and said what he assumed to be an ancient, esoteric spell from their own world, sealing it with flashes from their rectangles. I wonder what magical properties the word ‘fuck’ has, he thought. 

Once they had completed their spell, Erawan stepped back and waved away Eileen’s restraints. Aelia tossed her a mirror that he was almost sure came from his possessions as well, and they watched as Eileen ran quivering hands over her egg-like bald head, felt the fringe they’d left behind, and finally, looking like she’d rather be six feet beneath the earth, brought her face to the mirror.

Her ensuing scream of anguish was the most delightful thing he’d ever heard. He hummed the tune, the rising and falling in pitch and cracking of tone, as he grew himself a new pair of bangs the next morning.

[gra-sonas]

Hi! How are you? 😊 I'll apologize in advance in case you don't wanna talk about it anymore but where is this hate towards vlamis coming from? What the hell happened? I stayed of Twitter but I've seen some people talk about it here and it's making me really upset and I don't understand what it's going on!!

There’s a small group of 'activists’, accusing Vlamis of only pandering to Malex fans, of tolerating (supporting even) racism against Maria and Heather, and some other ridiculous claims. They demand that he shows support for Heather, Maria, and their ship (M/M).

They’re using multiple accounts to make their group seem larger than it is, occasionally they’ve called to arms some other ‘activists’ who don’t seem to be watching RNM tho, they also continue to create new accounts that join the “conversation”.

From what I saw before I blocked them, they are all avid supporters of Candice Patton, the actress who plays Iris West-Allen on The Flash. Candice’s been fighting for a better portrayal of black women on screen in general, and Iris’s recognition as a black woman in particular (it took The Flash 6 (!) seasons until Iris was allowed to wear her natural hair on screen - Maria on RNM did so in 2x05 for the first time) for a long time, and because Iris West in the comics is portrayed as a white woman, you can probably imagine that Candice has faced (and continues to face) a lot of backlash and racism for being cast as Barry’s love interest/wife, and being one half of the show’s OTP.

So I can definitely see parallels to Heather and RNM’s Maria here. In the books and the OG show, Maria was white, on RNM she’s black. Her and Michael were also the OTP of both books and OG show.

The accusation of racism being the main reason why people don’t like Maria and M/M is brought up a lot in fandom (and it’s certainly true in some cases!!!). But this topic is a lot more nuanced and declaring any Maria criticism - which is often a criticism about how the character is written - as plain racism, is not helpful imo. This small group of people on Twitter also accuses everyone of racism.

They even made a collage of awful things some people have said about either Maria or Heather, basically claiming that all Malex fans are saying things like that, and are racist assholes across the board.

They've also complained about the PopSugar and TVFanatic articles (which did not acknowledge M/M, while saying that Malex is the second important ship on the show, on par with Echo), while also flooding a TellTaleTV tweet asking which ship never should’ve been made canon with wildly homophobic tweets about why Malex should’ve never been made canon. They also accuse everyone of racism who answered the question with M/M.

One of their accounts even went so far to change their name and icon to pose as PopCrave, posting tweets about Vlamis’s behavior and “failures” (according to them) in the style of “breaking celebrity news”. And to amplify their grievances, they use multiple accounts to Like and RT their messages.

It’s all very messy and rather ugly bc they roped Vlamis (and CAM a couple of times) into all of this, repeatedly attacking him in tweets. His lack of support for M/M (unsurprisingly, they are not mad at Heather for not being more outspoken about M/M) is equaled to him condoning racism towards Heather and Maria. Once the attacks started, Vlamis fans stepped in to defend him, and the whole thing has quickly turned into something much bigger.

Anyway, this group is convinced that M/M are endgame (bc of the books and the OG show), they call Malex toxic, some keep spouting the usual homophobic BS, it’s not pretty.

It’s one thing to wish that Vlamis would be more supportive of M/M, but the way this group (and it’s really just a handful of people, I haven’t seen anything like this from other M/M shippers!) decided to go on about it, is wildly inappropriate imo.

[itsclydebitches]

The issue with yangs anger, is legit that it’s never presented as a flaw until that very moment with Adam. Yangs anger has never done anything until the series decided that it had to be a problem. Her fight with Neo, She was calm. The rwby fight with Roman, she was calm. her attack against the Grimm was nothing more than a bit. Mercury, she thought he was attacking her first. Notice how her anger never escalated. And then they tie it to her semblance instead of her aura and it’s even worse.

(Slamming these asks together with @thewhitehairedwitchgirl’s - as always - excellent commentary.) 

First: yup. We’ve discussed elsewhere RT’s difficulty with building up to things, whether that’s because they didn’t know early on that they wanted that thing to happen, or because they’re just not sure how to naturally build that into the story before it becomes a Big Plot-Point. In fact, I’m starting to notice a trend wherein RWBY will provide evidence for a change right before that change occurs. Another good example involving Yang is her a relationship with Blake. Prior to their relationship becoming canon (“canon”) we saw them being much more intimate earlier in Volume 6 and arguably a bit in Volume 5. That’s the “buildup” to their bedroom eyes and hand clasping at the end of Volume 6, but people are right to point out that this buildup is pretty short, especially from an in-world perspective. We didn’t see this behavior from them in Volumes 1-3 so it “came out of nowhere.” Some fans are okay with that (I’ve argued in its defense for numerous reason). Others nevertheless have a point that RT could have – and arguably should have – provided more of that buildup over a longer period and, as a result, in a more slow, “natural” way. The same, I think, can be said of Yang’s flaw: we saw “buildup” to that right before it became an issue. Whether that was enough depends on each fan’s interpretation.

Specifically, I think the buildup occurs in the one fight not mentioned here: Yang vs. Neon.

As said, Yang is pretty calm in those other fights, but that’s arguably because the writers hadn’t figured out that Yang’s tendency to get very mad very quickly – see previous metas for evidence there – was going to turn into a legitimate flaw that the story would attempt to acknowledge. You can’t write something if you don’t know you want to write it. However, Yang vs. Neon happens right before Yang vs. Adam and serves as a pretty good way of demonstrating that flaw when Yang vs. Mercury is already doing other work. Namely, setting up her framing.

Let’s break this fight down:

We start with Flynt insulting Weiss over what her father has done. Note that she’s upset at this accusation, but not angry. She apologizes on behalf of her father and doesn’t seem inclined to let this impact her fight. Meanwhile, when Flynt continues Yang is the one who gets pissed off on Weiss’ behalf.

Neon mimics her and starts a trend of insulting Yang throughout the fight: her hair is weird, she’s top-heavy, she should go on a diet, etc. Yang is riled up before the fight has even started and, as mentioned elsewhere, Ruby recognizes this as a problem.

When the fight begins Yang can’t touch Neon. She does no damage to her. Meanwhile, Neon hits her at least fourteen times and manages to coat both an arm and a leg in ice, all while keeping the insults up so that Yang is too furious to fight well. If it’s not already obvious to the audience that this is a psychological strategy of Neon’s – see more about Yang being off-balance below – Neon herself says it. “You should cool off. Get it? Because you’re angry.” 

Neon tells her opponent that she’s too angry to see straight, let alone fight straight, and instead of taking a moment to realize, “Oh yeah. I’m so furious that I’m letting that anger blind me. I should actually breathe for a second and figure out how to beat this girl, rather than letting her string me along and emotionally manipulate me into making bad calls" Yang just gets angrier.

Neon seems to realize that this would happen. She recognizes by this point that Yang can’t put her anger aside and is thus confident enough to comment on her anger itself, knowing Yang won’t turn the tables on her. Instead, Yang starts flashing her semblance, which Neon uses as further ammo to keep Yang riled up. 

We see that Yang, while angry, isn’t capable of changing her strategy. It’s clear that running after Neon has done absolutely nothing, but that’s all Yang can think to do. She actually reaches a point where she just demands that Neon hold still so she can hit her.

And this behavior has a major consequence. Namely that Yang is so angry – so distracted – that she doesn’t notice Flynt aiming a shot of his own. Her anger has not only blinded her to Neon’s strategy and made it impossible for Yang to come up with one of her own, she’s not paying attention to her environment either. Yang doesn’t care about the second enemy on the field. She doesn’t care about her teammate. She only cares about getting back at Neon for these insults and the only reason why she isn’t taken out is because Weiss is paying attention. She’s put in a position where she has to sacrifice herself in order to protect Yang, but it’s a protection that never should have been necessary in the first place. 

When Weiss goes up in flames Yang is surprised. Oh, there was something happening over there? That level of distraction is not good. 

And when she realizes what’s happened… she just gets angrier.

Yang is finally at a point where she’s using her semblance and yeah, it does give her the boost needed to take out Flynt. But he’s the fighter whose aura is already a centimetre from the cutoff because of Weiss’ sacrifice. How does Yang beat a fully powered Neon though? She... doesn’t. Neon trips and lands very conveniently on one of the water shoots, giving Yang the chance to easily pick her off while incapacitated. There was no strategy here, only luck. Yang didn’t win, Neon just lost.

That’s a lot of character work packed into one fight and that’s what Tai is referring to. I don’t have good screenshots for their conversation but I have quotes. It begins when Tai comments that Yang is “still off balance” and Yang, surprise, gets angry: “What? No I’m not!” She also (again) gets distracted. After she declares that Tai is wrong – totally not off balance here – she starts admiring her arm and Tai comes at her with a punch that Yang just barely dodges. When he’s successfully taken her out, he clarifies, “I wasn’t talking about your actual balance. Although, that could use some work too.”

Yang still doesn’t welcome any criticism when Tai brings up the tournament. “Let me guess: I was sloppy.”

“No, no… you were predictable. And stubborn. And maybe a little boneheaded. Do you realize that you used your semblance to win every fight after the qualifiers?”

Tai is right. Those are all things we saw in Yang’s fight with Neon. For once RWBY has succeeded in showing as well as telling. Yang was predictable, both in the ease with which she let Neon continually rile her up and in her “Charge ahead and hit it” strategy that never once changed. She was stubborn. She was boneheaded, and she only (sort of) won because of her semblance. But as Tai points out, “What happens if you miss? What happens if they’re stronger? What then? Now you’re just weak and tired.” What happens if Flynt was strong enough to withstand that one attack? What if Neon didn’t conveniently trip and basically take herself out? What if, say, you fired up your semblance, charged at someone stronger than you, and they sliced off your arm?

“Your semblance won’t always save you… obviously.”

Yang voices the exact criticism the fandom relies on. What? I’m not supposed to use my semblance now? Tai clarifies that “not everyone else’s [semblance] is basically a temper tantrum.” They’re harsh words, but they’re true. The problem is not Yang using a semblance. The problem is that Yang (obviously through no fault of her own) ended up with a semblance that relies heavily on her a) taking damage, b) getting mad, and c) is something she now relies fully on to win her fights. So when it fails… she’s likely to fail too, both because she had to take those hits and because, in the act of getting mad, she can’t think straight. Unlike someone like Weiss and her OP semblance, Yang has a harder hand to deal with. It sucks, but she has to face the reality of that if she wants to survive this career. She needs to keep her emotions under control in a fight and, connected to that, she needs to fight intelligently. Note that when Flynt insults Weiss – “Too bad all that money couldn’t buy you skill” – she demonstrates that skill by combining her ice with her glyphs, creating a projectile too fast for Flynt to dodge. That’s Weiss using her semblance in a new way and keeping calm enough to make smart decisions, despite someone insulting her and clearly experiencing anger from that. 

Yang, meanwhile, let her anger consume her. She had no second strategy – involving her semblance or otherwise – and ultimately allowed her emotions to seriously hinder her. That’s the heart of Tai’s criticism: “You’ve got to keep your emotions in check. Keep a level head and think before you act.”

Which still leaves the pushback of, “But, Clyde, how is Yang supposed to think when Adam was attacking Blake? What else was she supposed to do? A traumatized 17-year-old is obviously going to get riled up. She can’t help it.” Yes, but she can learn. She can learn how to think before she acts, even in traumatic circumstances, and more importantly she can learn that skill for less traumatic events too. Note that Tai kept the criticism within the bounds of the fun tournament battle. He didn’t say, “You should have kept a level head despite seeing your friend get stabbed in the middle of a war zone” he’s saying, “You should be able to keep a level head in a meaningless tournament fight… and figuring out how to do that will assist you during the times where it really matters. Like Adam.” If you can’t do it when it should be easy, you have no chance of doing it when it’s really hard. 

Just because we expect something of someone doesn’t mean we don’t likewise strive for more. Meaning, just because the traumatized 17-year-old did what we expect a traumatized 17-year old to do - perhaps even the only thing a traumatized 17-year old could do under those circumstances - doesn’t mean Yang should never be called out on that. Namely, months later after she’s had time to recover. If we put this in slightly different terms:

Parent: Yeah, my kid found out that her friend nearly died in a car accident. It was horrible. She broke a bunch of stuff when she heard the news. I need to talk to her about that once things have calmed down some. 

Friend: What? They’re 17 and that’s a horrifying event. Of course they’re going to break things! What, you expect them to handle this situation like an adult?

Parent: No, but how will they ever learn how to handle it like an adult if I don’t teach them? How will they develop better coping skills if no one shows them any? Besides, she already has a habit of breaking things when she’s mildly upset - she’s prone to that - and I don’t want it getting out of hand.

Now slide in Yang’s situation. As Thewhitehairwitchgirl points out, what’s reckless about Yang’s actions? How could she have known what Adam’s power was? She couldn’t have, but that in and of itself is the problem. She charged at an unknown enemy without thinking through any options, without taking a moment to assess the situation, without knowing whether her semblance would be enough... and it wasn’t. That’s not something she can afford to do again in the future because next time Yang might lose her life instead. Does Tai expect her to have handled Adam differently? Based on the conversation, I’d say no. Does he still think it’s still worth using that moment as a teaching tool? Yes. Is this particularly important for Yang as an individual given that she’s already prone to letting anger blind her/charging ahead without thinking things through? Yes. As her fight with Neon demonstrates, running and punching her enemies won’t always be enough to beat them. As her fight with Adam demonstrates, running and punching her enemies with her semblance as an additional boost may not be enough to save her. Yang has to think. Even in situations where it’s really really hard to. Especially as someone who isn’t inclined to do that naturally. It’s something she, as an individual, has to conquer given her personality. Blake, for example, doesn’t need this talk because she has the opposite problem of running away from things. She’s often too cautious. Yang, who will later jump straight to “You turned my mother into a bird?” needs to learn to take a step back and not let her anger guide her.

Basically there’s a venn diagram of “17-year olds who will of course make impulsive decisions” “People experiencing a traumatic event who can’t be expected to think things through in the moment,” and “People who, as individuals, are prone to letting their anger drive them to make mistakes.” Yang just happens to sit right in the middle. 

For the Adam situation those other two categories absolutely come into play, but we also can’t ignore that Yang is poised to make that same mistake even when she’s older, even when it’s no longer a traumatic event. Indeed, as we see post Volume 3 - bird accusations, screaming at Ozpin, stealing the airship, impulsively telling Robyn, etc. - Yang is still struggling with this flaw. Even if the story seems to think that she’s overcome it.