#and overall to both the narrative and the meta narrative

[lemony-lemonz]

*its definitely not as common nowadays as it was back in like ~2018 but ill still sometimes see someone treating flowey and asriel like completely diffrent characters or say stuff like "my favorite character is asriel but not flowey!" which to me is just... super confusing? because honestly the fact that they're the same person is, to me, one of the most interesting parts of his character. whenever i am turning flowey around in my brain i cannot stop thinking about how theres still asriel in him, like when in the alarm clock dialoge toriel mentions that she woke up in her bed with a glass of water filled to the brim, like how asriel did it, next to her after passing out on the floor, or how emotional he is, quickly becoming frustrated being just how quick asriel was to cry. or even how he still looks up to chara. he tries to pretend asriel is "long dead" but he is still the same person. despite everything, its still him.

i dont know i just feel like seperating asriel and flowey takes away so much depth from his character

[annabelle--cane]

there's a lot going on in the mag 58 supplemental, this one little scene does a lot of heavy lifting to set up martin and tim's arcs for the rest of the show, but I want to focus on these lines particularly because of how therapy comes back as a symbol in s4/s5.

broadly, in the context of the meta plot and not the individual statements, seeking therapy in tma is representative of trying to improve oneself and get out of a bad situation. later, when taking melanie to therapy, georgie suggests that jon should get some as well but, when asked, says she wouldn't be willing to escort him like she does with melanie, showing how she does wish the best for jon in theory but doesn't think he actually wants to get better, or at least that she's not sure enough to involve herself with him.

that view of jon doesn't come from nowhere, because here we have an instance of him rejecting that same offer, symbolically rejecting help in favor of digging himself deeper on his own (obligatory disclaimer that irl therapy is a very personal thing and says nothing about one's overall character, this is just an examination of a motif in fiction). the word choice of "he just says no" imo implies that martin has suggested this multiple times and jon keeps giving the same answer, continually reaffirming that he does not want outside assistance to pull him out of this spiral.

the fact that martin's the one advocating to go soft on jon despite repeated refusals for more sympathetic help is interesting to me, because I would guess that this conversation was instigated by jon aggressively confronting martin about trevor herbert two episodes earlier. we know he was stalking all three of his assistants, but that is the biggest and most threatening outburst we get from jon in this period, and in this conversation it is still martin being defensive and apologetic vs tim being frustrated and pissed off.

I've said recently that I'm pretty sure martin believed jon was self harming and/or suicidal at this point, so I can see why he would be particularly willing to give jon slack and try to prevent any big conflicts, but that still contributes to his current narrative role of "guy who is treated the worst but ignores it because he's also the guy who cares the most." in that way, he's a foil for georgie; she cares, sure, but not enough to ignore (perceived) risks. martin pushes for jon to get therapy even as he lashes out and rejects help, and georgie won't involve herself when jon asks if she'd be willing to help him see a therapist.

this motif comes back around for a final complication in s5, when laverne, melanie's therapist, winds up as part of her cult. melanie's effort to get better and get out did have lasting effects, she is separated from the watcher/watched system and is coping a whole lot better than she would have before, but those personal efforts still weren't enough to fully get her out of the whole mess. no amount of individual action could remove her from this structural problem, her therapist helped her a lot but also now thinks she's a prophet.

which also comes back to the above scene. tim and martin both write off elias as useless in this situation, so they start sniping at each other and talking about how to stop jon from doing what he's doing without even really lingering on how the guy who is actually in charge and has power over them all is making it worse by neglecting his managerial duties. I'm sure jon could have done with some therapy at this point, but that would have only dealt with, like, 10% of the archive gang's current problems.

[mochiajclayne]

Marineford Law is no question interesting to me because he pulled off a surprise, motherfucker moment and the timing was so good to the point that both pirates and marines least expected it.

Before I proceed with this self-indulgent lawlu meta post, I will go ahead and say that everything that happened between them in Marineford is a catalyst of establishing their connection later on in the future arcs. I am a firm believer that those feelings™️ started to truly bloom in Punk Hazard and went downhill in a good way in Dressrosa.

Long post ahead. Enjoy!

When I was rewatching Marineford arc, the part where Buggy was already carrying an unconscious and injured Luffy and Jimbei, their conversation sparked my interest.

Highlighting the bit where Buggy was confused about Law's verbal tic of using the suffix -ya in referring to anyone, overall doubting him, then asking for Law's name. Don't forget that Law is a little shit (affectionate) so he proceeded to ignore all of those questions to say this:

Interestingly enough, this part is tricky to translate. I found two translations that closely encapsulate what Law wanted to say here but mind you, and I will sound redundant about this with everything that has got to do with Trafalgar Law's speech patterns: he likes speaking in runarounds, purposely using terms with double meanings and connotations on them, and he's both reticent and cryptic. (I wouldn't say not to trust on his words but don't take them at face value.)

Law described his connection with Luffy as 悪縁 (akuen) which directly translates as evil destiny or connection.

Forgive me for a bit of sidetracking but the kanji used for akuen is the same with Robin's epithet which is "Demon Child" (akuma no ko). To further elaborate, 悪 (aku) means evil--both as intent and violating a moral code. It is also used to refer as the direct opposite of good.

Going back to 悪縁 (akuen), in true Law fashion, this word doesn't only mean evil destiny or connection. Depending on the context, it can also mean unfortunate love.

(It sounds tragic coming from him, isn't it? If your mind was blown after this part, no worries, I am too. This part gave me so much whiplash when I was researching about it.)

So, considering these two interpretations of 悪縁 (akuen), that begs the question, what is Law's connection with Luffy?

On surface-level, they are enemies as Law said so himself. They're rivals when it comes to One Piece. Their common ground, which is only known among people that Law trusts the most, is sharing the same secret name of D. However, I will take one step ahead and say that they both went through the same tragic fate of losing their loved ones, for being weak and powerless to protect them. They were both involved in circumstances where if they were capable enough, they could've saved the person they loved the most. Doomed by the narrative and subjected to trauma that breaks their heart and spirit should they be lesser men to handle such misery and grief. It is unfortunate, disastrous, and cursed to love fully knowing the fact that the other person could die like the ones before them but these two have the biggest heart.

Of course, Law will never say it directly. Thus, settling for 悪縁 (akuen).

It gets better. He did say 悪縁も縁 (akuen mo en) and 縁 (en) itself means fate or destiny (especially a mysterious force that binds two people together). Additionally, も (mo) is also a particle that is used for emphasis.

The implication, in turn, of what Law said to Buggy can be translated this way: Strawhat-ya and I (will) eventually be enemies, but an evil connection is (the futuristic possibility of Luffy becoming his enemy) is fate (that binds them).

Law made sure to emphasize that their "evil connection" is fate: specifically, that mysterious force brought them together and compelled him to be there, that he was meant to sail to Marineford, and help Luffy escape.

These two translations are the closest that I found to be accurate but it's still scratching the surface of what Law said:

This entire panel between Ivankov and Law makes it funnier because he clocked him IMMEDIATELY.

Ivankov asked if he's friends with Luffy to which he replied: no.

He also emphasized that that he doesn't have any obligation to help him but then went on to say this:

親切 (shinsetsu) means kind, generous, gentle, considerate. 不安 (fuan) refers to anxiety, uneasiness, worry, apprehension. These are surprisingly direct words but of course, Law had to go back and be cryptic again when he followed up with 理屈 (rikutsu), which could mean two things: theory, reason, logic or (unreasonable) argument, excuse.

I think this panel did a good job for translating it.

Law himself is providing Ivankov here the benefit of the doubt. To reiterate, Ivankov beats him to the punch which makes their entire interaction so funny.

Again, brilliant translation for directly calling out Law's bullshit. Lmao. Ivankov says 直感 (chokkan) here. It means intuition, instinct, hunch. Please take the next statement that I will say with a grain of salt but "instinctively moving your body" is usually associated with the context of being reckless to the point of directly exposing oneself to danger, consequences be damned, in order to protect someone.

Even Law himself acknowledged that he's not obligated to be there, so why?

Unfortunately, this is the elephant in the room that Law will never address. Several characters even made sure to point out that he helped Luffy two years ago and he purposely dodges that topic.

One thing I can guarantee is that Law never did it to get Luffy to agree for the alliance. Hell, he thought of the alliance after reuniting with Luffy! He adjusted his plans by then. Additionally, he never used the fact that he saved Luffy's life as his bargaining chip and leverage to get him on board the alliance.

Lastly, this is too much for saving a life on a whim, isn't it, Law?

[tavina-writes]

I have been pondering the recent rash of "post canon NHS and LXC would never ever reconcile bc even if NHS wanted to have Er-ge back, LXC would never ever forgive him for [insert reason of choice here]" type of posts + the "do you think NHS thinks very hard about how much Da-ge would hate him for becoming [the way that he is now] by choosing to seek vengeance" type of posts, and I think fundamentally the reason these posts do not jive with me is that we have no indication, in the show or in the book that uh, NHS gives a shit about either of these things very much anymore?

The first type of post is predicated on the assumption that LXC's forgiveness or lack thereof some some sort of either extension of mercy (which NHS obviously does not deserve <- or so assumes the post) or some form of punishment (which is obviously the correct answer) but the last scene we get with NHS both in the book and the show make no indication that this is a thing he wants? Or cares about? Book NHS has *sauntered off* with his little hat trophy and Show NHS walks off screen after saying something along the lines of "What is my responsibility I won't shirk, what isn't my responsibility I won't care about." Now, arguably, show NHS is having a worse go of it emotionally, but shows no real inclination or interest in either apologies or making up and being friends again with LWJ, LXC, WWX, or other people. Book NHS seems pretty pleased with the outcome of the events as a whole?

The second type of post is predicated on the fact that NHS finds Da-ge's judgement a horrible burden to bear at this stage in the game, which! He might! But again especially in the book we get no indication that he has any fucks left to give about what Da-ge may or may not have wanted since Da-ge is dead. In both the show and the book, NHS went about revenge taking very specific and complicated actions with the desired result of JGY dying, but he certainly took the scenic route getting there, which, he didn't need to? As I've written about before, JGY didn't see him as a threat. If he wanted JGY dead he could've arranged to poison JGY's tea like, 10 years ago and had done with it instead of his complicated Rube Goldberg life ruining scheme. If he is still sickly anxious about how Da-ge might feel about the scheming and the trouble causing and the whole everything, that's certainly possible, but he must've decided it was worth it anyway regardless of that, and I don't know that it necessarily would've changed just because he got what he wanted at the end.

Overall, I think as a fandom we think a lot about like "will and should this relationship ever be repaired or similar to how it used to be?" and "does this character deserve/not deserve the forgiveness of people they've hurt or abandoned?" which can be interesting questions! I do feel like these are often taken as "is a character morally good (deserves to be forgiven) or morally bad (deserves to rot in hell forever never forgiven ever ever)" and based entirely on if Character is the meta writer's blorbo. Under this paradigm the concept of "Character did bad things to get exactly what they wanted and were happy about that and no relationships were ever repaired and the emotional detachment of people they used to care about no longer matters to them!" is uncomfortable.

It's just that for NHS I've increasingly come to the conclusion that canonically, I don't think NHS thinks he has anything to apologize for, nor is he super interested in being forgiven! He got what he wanted the way he wanted it to happen. Which is potentially supremely unsatisfying but I think is very sexy as a narrative concept.

[explodo-smash]

Katsuki as the Light & Izuku as the Dark- Love and Harmonious Totality in The New Era

This meta analysis’ purpose is to make the case for KT/DK existing as Light and Dark in each other’s stories respectively, and explain how this dichotomy challenges black & white thinking in the narrative. 

This meta analysis will also explore how this Light/Dark dichotomy lays the groundwork for why Katsuki/Izuku as a unit represent a “New Era" in the story.

[Can also be found on twitter]

Whether by Save to Win/Win to Save, or the fact they are osananajimi, the story frequently draws our attention back to Katsuki and Izuku’s complicated, influential and powerful bond. Despite all the changes they’ve gone through in MHA up until now, both individually and together, one thing has always remained constant: they are as symbolically connected as they are physically/mentally/emotionally.

We argue that one of the ways MHA’s narrative connects them symbolically as polar, balanced parts of a larger whole is through a sense of DUALITY. 

Furthermore, we argue that the use of contrasting Light/Dark motifs act as both visual and text metaphor to create this duality, with Katsuki representing Light and Izuku representing Dark.

It's important to note that by Light/Dark, we aren’t referring to their moral clarity, goodness or badness. Rather, we will explore Light/Dark as a metaphor that builds on themes in MHA while creating tension (contrast, conflict leading, fear and rejection) and harmony (balance, unity, love and acceptance).

Note: the Light and Dark comparisons/metaphors between Katsuki and Izuku used in MHA sometimes get lost in translation in the anime. Here are some examples….

For Izuku:

Izuku is often encased in shadows in Katsuki’s POV since the beginning.

The word used for quirk (kosei) meaning “personality”, with quirkless meaning “lack of personality”, evoking the absence of something

Character design leaning on “dark” shades (dark/filled in hair, eyes including dark pupils early in the series)

Izuku’s “Dark Hero” arc as it’s officially titled.

Izuku’s prototype/beta name “Yamikumo” meaning Dark Cloud and his personality type tending toward facades/anxiousness

Blackwhip being the OFA quirk that resonates with Izuku’s emotions (particularly his rage)

His recent “power up” moment in the current arc involving blackwhip is denoted by claws, fangs and black tendrils. This form is officially called “overlay” but Hori also calls it “carnage” in his head.

And for Katsuki:

Izuku’s description of Katsuki as someone bright and blinding, often bringing light into his eyes as an artistic consistency.

His quirk “explosion” emitting light, his move “stun grenade” literally a blinding flash of light.

Character design leaning on “light” shades (light hair, eyes aren’t filled in)

Prototype/beta ‘Gogo’ Katsuki’s light clothing and his personality type overall being bubbly and overprotective (toward Yamikumo).

Katsuki’s death chapter titled “Light Fades to Rain”, and his revival evoking that visual of a bright light.

His recent “power up” moment in the current arc is denoted by flashing lights and explosions all around his body - highlighted with laughter, and glee.

Katsuki and Izuku connect with all the various opposites attract concepts that draw on the Light/Dark duality (sun/moon, yang/yin) but the first mistake people make is approaching these concepts with black & white thinking in mind.

The meaning

The Light/Dark imagery/descriptions/metaphors with KT/DK exist as a set piece that subverts expectations by challenging binary/black & white interpretations.

Katsuki’s ‘light’ is confident and inspiring - but it can also be blinding, harsh, and overwhelming.

Izuku’s ‘darkness’ is almost like a blanket. It’s comforting and sympathetic - but it can also be scary, unnerving, and mysterious.

Initially, Katsuki wanted to get away from the ‘darkness’. Izuku was like his shadow, following him relentlessly. He misinterpreted Izuku’s behavior as secrecy or deceit. 

Izuku dragged in as much ‘light’ as he could, by both observing Katsuki closely as well as refusing to part with the nickname ‘Kacchan’. His pursuit was a combination of hope for the future and a fascination for something he didn’t have (envy). 

Both of them have a capacity for unending love and selflessness, but also uncontrolled rage and violence.

The point of this contrast is for us as readers to highlight and dismantle the surface level perceptions of these characters in the same way Katsuki and Izuku progressively do for each other. 

Building on the themes 

In the same way Izuku always saw, and admired, Katsuki’s “light”, Katsuki could see, and feared, Izuku’s “darkness”. This contributed in building tension between the two, both literally and narratively. Where another story may have framed them as opposing forces, however, MHA frames them as dual forces. Where the source of tension for opposing forces may be fundamental differences, the tension between Katsuki and Izuku comes from a REJECTION of their fundamental parts. By extension, this became a rejection of their potential for harmony.

There’s enough evidence to suggest the defining concepts for prototype/beta Katsuki and Izuku(Yamikumo) weren’t entirely discarded, but rather modified and layered upon. One of the major differences was how prototype KT/DK got along, with one of the earliest scenes drafted for MHA being a scene where they fight together.

It’s ultimately a mistake to presume Izuku is purely a positive ray of sunshine just like it was a mistake to assume Katsuki was hiding a bitter and villainous darkness within him. It’s the neglect of their core that causes them to dig their heels in and become their worst selves: 

Katsuki as egotistical, harsh and tightly guarded with a tendency to lash out, against Izuku as obsessive, obstinate and habitually repressing his emotions.

Society shaped their “quirks” (their power, outward appearance) but time and relationships informed their “individuality” (their ideals, hopes, inner drives). 

Izuku's unwavering belief in Katsuki’s light was a tether that enabled Katsuki to embrace and flourish into it. Katsuki grew to understand the darkness in Izuku by confronting that which scared him. This allowed him to empathize with Izuku’s complex thoughts/feelings during a time where Izuku was at his worst (“Dark Hero” arc–onward) and dedicate himself to making sure Izuku didn’t carry the weight of the world and its burdens on his own. 

In other words, the inevitable payoff for KT/DK facing and dismantling the tension within themselves and between each other is the harmonizing of the dual/complementary themes they’ve been written to represent, which ultimately mirrors the main messages and questions posed by MHA.

‘The New Era’

As two major pillars of the story, Katsuki and Izuku are in many ways microcosm(s) of MHA society at large.

Katsuki and Izuku as complementary forces and not opposing ones seems obvious until it is put into practice. Some characters in the story and many readers in the audience alike have struggled with understanding their multifaceted nature and reconciling what they know of KT/DK from the outside with the seemingly contradictory information KT/DK have given us about themselves over time. Rather than a fluke, this contrast is an intentional writing choice evidenced by elements like their Light/Dark symbolism.

The lines at the main center of conflict in MHA - Heroes vs. Villains - has been long since blurred. In much the same way Heroes vs. Villains has complicated good vs. evil and challenges black&white thinking, KT/DK’s relationship as counterparts is representative of a greater duality that paints a clearer picture of MHA’s philosophies on the nature of heroism, societal progress, and the difficult process of inner growth. This picture is coming to a head with the story situating them as the beginning of “A New Era.” 

MHA understands people as collections of thoughts, feelings, experiences, abilities, ideals, hopes, drives, etc., and that contradictions and tension between them are inevitable.Through KT/DK, MHA has developed a beautiful narrative where strengthening oneself involves strengthening each other and broadening our understanding of who we are.

“There is a false saying: “How can someone who can’t save himself save others?” Supposing I have the key to your chains, why should your lock and my lock be the same?”

[tls12lessthan3]

So. orvs metatextual nature and gay jokes. orv is an action fantasy book, a genre designed primarily for men and starring men. now most of these books are not gay, but there is often a tendency by audiences (particularly female audiences) to see some level of romantic tension between male characters. orv is no exception to this. some authors respond with outright hostility when they see fans shipping their male characters, and some simply ignore it completely - but some go the route sing shong does, and play it for laughs. before i go any further, i would like to clarify a term i will be using - shippers. while this literally refers to readers who think there is romantic potential between two characters, i will be using to specifically refer to instances where those two characters are of the same gender. im doing this because i cant think of a more elegant word to be completely honest, and this is tumblr meta so who cares.

orv is a metatexual narrative which is aware of its genre and aware of its readers. those readers are represented in the narrative, and sing shong knowing that fans would see a possible relationship between kim dokja and yoo joonghyuk made sure to represent that too. so we get uriel, the fujoshi angel who is constantly reading into kim dokjas and yoo joonghyuks relationship in a way that is often played for laughs. now ive certainly seen worse depictions of ‘shippers’. uriel is treated with affection by the main characters, who genuinely like her (and the fans she represents by association). her love for joongdok is implied to come from her having a crush on her friend and projecting, which i see as a kinder depiction than the usual ‘slavering fujo’ trope. 

and perhaps most importantly her engagement with the story seen as just as deep as any other reader if not more so! uriel is one of the characters we see most changed by kim dokjas story - in every other universe shes a fierce and furious warrior, and while she never hesitates to kick ass in this round either, kim dokjas story has given her a solace that has made her significantly softer. she helps him out sooner than any other constellation, saving his ass in many ways during the demon world arc, demonstrating a deep investment we are clearly meant to be grateful for. wherever it comes from, uriels engagement with kim dokja’s story is shown to be a genuine and deep one appreciated by the characters. through this sing shong is almost directly speaking to the shippers in the fanbase who are often mocked or disregarded, saying that their love for the story is important too, wherever it comes from. i see this as sweet, and i like that unlike so many other authors sing shong recognise the role shippers often have in a story’s success.

however, i hesitate to give sing shong too much credit. because along with the genuine appreciation of uriel as a character and all she represents, there are jokes mocking her and those like her, and there are a lot of them! like i said above, sing shong wrote orv as a metatextual narrative that engages not just with the genre but with the genre’s fans. sing shong knew that people would ship their characters, as that is what happens with books like orv. and so they wrote in many jokes about it, jokes based around the ‘silliness’ of those who would assume kim dokja and yoo joonghyuk have romantic feelings for each other. and given orv’s metatexual nature, this also mocks the nature of shipping itself. when someone assumes kim dokja and yoo joonghyuk are together and they react with disgust, as frequently occurs in the earlier parts of the novel, we are meant to laugh not just at the misunderstanding - really, these guys gay, how silly. but we are also meant to laugh at the idea that these Protagonists are homosexuals, and at the people who make those assumptions. its a simultaneous acknowledgement and mocking of the queer undertones of both this story and it’s genre.

so you get this overall impression of a narrative that ultimately loves all of it’s readers, including shippers, but also isn’t afraid to say it thinks all that gay stuff is kinda silly. and while ebook edits have largely removed many of these gay jokes, an undercurrent of this still remains. from what i know this largely reflects sing shongs actual opinions at time of writing, whether or not they have changed later on. 

dont get me wrong, i love orv, i love joongdok, i love their relationship and i do read it as romantic. i too read the scene where lee gilyoung insists kim dokja is into men and kim dokja responds aghast and gone ‘haha, gay’. as a queer person in the webnovel scene i am no stranger to taking homophobic moments like that and reclaiming them, making the characters queer and pretending the author is laughing with me and not at me. im not trying to preach to anyone here. but i also think its important to acknowledge the conversation orv is having here - its valuing of shippers and its mocking of queerness, and where they overlap.

[girls--complex]

hi, love your work a lot! it manages to blend coherence with layers of esoterica, in a fun & meaningful way. do you have any big influences with your style?

Writing this as a narrative because my whimsicall mind can't seem to organize information logickally otherwise

So

When I was a child my Dad would show me a lot of comics/cartoons in all different styles/eras and so I was internalizing comic book logic from the very beginning. He really liked American comix both capes and Indie stuff but was also into franco belgian artists and let's be clear my papa has good taste so I was readying good stuff though I couldn't remember it all too reliably... Also Comics Journal, so I was reading comics & meta about comics. So basically I have like a deep archetypal brain stem dark spring of mind that spits out raw comic information like a dream that I can't place until I rediscover them, and a lot of deep unremembered imprintations that R kinda roiling around under the surface #Stupidsoldier

N then I was a deviantart kiddo and a reading manga at barnes and noble kiddo, and then I went and got a formal art education and learned about all these artists that sort of did pseudo comics or cartoons but didnt articulate it that way-- The German xpressionists are a big example of this -- and also about overall principles of like scale and hierarchy and time and presence -- and also just that I really like drawin the human figure in particular :)

I'm really grateful that my parents especially my dad were actually really supportive/invested in me being an artist even though they had very little faith in my character or overall competence. so I was always doing art activities to make me better at drawing because that was like the one redeeming quality I had, a lot of household resources went into me having art tutoring or doing community classes, and I was really strongly encouraged to get ma BFA

So 4 influences well I like things that are very stylish but very specific in how they represent figure N physiognomy... Naoki Urosawa & Jeff Smith were fascinations 2 me along this line... Arakawa is good too... I feel like this is a strength of American and British cartoonists generally but struggling to think of names

My favorite painter is tied between two commies: Siqueiros, who was a Mexican muralist and chaotic socialist, really specific markmaking and texture, pathos drenched figuration, charged epic landscapes, and Petrov-Vodkin, Russian ikonographer who became a propagandist for the USSR, semi-social-realist, semi-ikonographic compositions in which space is wrapping around itself to organize human figures according to a mythological logic, flattish, very cartoons/comics aligned, strange treatment of color but all really effective

History painting overall is everything to me it really doesn't show in Coward but I think it shows elsewhere some of my other dramatic sensibility is a lot from 00s action movie shlock which I would always enjoy to go see when I was younger and was somehow fascinated with the environment of government buildings and prisons and secret operations happeningunder the surface of every day life erupting into wet violence of men punching each other

I love the movie THE RAID redemption !!!!

I learned a lot of the logic of pacing N building pages around Tezuka's work as well as FMA N Death Note I think were big 1s to teach me that logic. Tezuka is a really good artist to look at for how to compose a page that supports the energy of the events that are happening on it, not that that's something I personally am good at. Favorite mangaka for tone and environment and visual identity are Katsuhiro Otomo, Tustomu Nihei, Suehiro Maruo, Nishioka siblings, Hideshi Hino

A lot of my sense of timing is also from news paper strips tbh. It's just a gut thing to me at this point hehe , Character design is also a gut thing for me I draw a little thing and I can either ensoul it with psychosexual fixation or I can't

I was born in the hospital Henry Darger worked at St. Joe's he's an ancestor to me but ofc inimitable by virtue of GOD being his sole audience

As for the esoterickal dimensions I feel like it's all it's own post let's just say I lack the inclination and ability for systematic and rigorous study but I am really interesting in gathering little packets of information and arranging them into dioramas and the longer I do it the more packets I accrue

I want to make a list of artists on here that I like/admire sometime too but that's too much for me rn. I also suspect a lot of people R mad at me for arbitrary reasons just as I also am mad at a lot of people for arbitrary reasons so I dont wanna bother no one ...

Oh well so I'm intentionally reorganizing how I draw right now because I sense a shift in my trajectory again so thanks for making me reflect

[liverbiver9]

The more I read danmei in my monthly book club that I otherwise wouldn’t have read or even known about, the more it becomes painfully clear that most of the mdzs fandom (and possibly the other 2 mxtx fandoms but I’m not as well versed with them) have not interacted with the genre at large beyond mxtx, and it shows in the meta analysis people make (especially westerners).

And I am not excluding myself here! So much of my initial assumptions and interpretations of mdzs has changed after reading other danmei authors, especifically the less western-internet-popular ones.

My point is this: when reading a book from a culture that is not your own and in an unfamiliar genre, it will be impossible to grasp all the intricacies and subtleties nestled within the narrative and characterization until you’ve become more familiar with the culture and genre itself.

Don’t limit yourself to mxtx. There are more and more danmei being translated into English by publishing houses and even more are fan translated.

If you’re looking for a place to start, I have some recommendations!

1. Golden Terrace by Cang Wu Bin Bai.

Literally one of my favorite books I’ve ever read in my life, and I’m an English major. It is only 2 books and both are already published, so you won’t have to wait. The most tender, loving relationship I’ve ever had the pleasure of reading about. The translation is phenomenal, and it feels very similar to Jane Austen in its diction, plot, and characterization. I literally cannot explain with words how much I love this book.

2. To Rule in a Turbulent World by Gu Xue Rou

This series is just being translated and published, so it may take a while for the other books (I think 3-4?) will be out, but don’t let that scare you away! Without too much spoilers, the vibes of this first book reminds me of Harvest Moon games. Also a very sweet and tender main couple. Plus, this book is written by a male author!! Pretty rare in danmei, at least to my knowledge.

3. Thousand Autumns by Qian Qiu

Pretty dense with lots of philosophy, poetry references, and a more traditional wuxia world. This series is finished with 5 books in total. I had a hard time reading the first book, mostly because I didn’t connect that much with the mc at first, but I loved the world building and all the information I learned. I did eventually start connecting with the mc and ended the series fully besotted! Not a quick or easy read, but a worthwhile one.

4. Ballad of Sword and Wine by Tang Jiu Qing

The first book is out for this series, with the second being published later this month. It’s going to be a long one like tcgf, so it is a commitment read—but absolutely worth it!! Lots of palace politics and more Taoist-focused martial arts (think Crouching Tiger Hidden Dragon). It is both fast and slow burn (I know that doesn’t make sense now; trust me, it will later on) and the main character is SO FASCINATING!! I want to study him like a bug. The overall characterization is phenomenal. The cast can be… intimidating, as there are a LOT of named characters, but they’re mostly there for world building (and the world building is fantastic!). Also, the translation here is GORGEOUS. You can tell it was translated by a writer, or at least someone who’s read the whole text (you’d be surprised…)—everything is so vivid!

[let-us-cultivate-our-garden]

I had a long argument with someone on whether or not stomping Belos before he dies was better than letting him die pathetically, and I asked myself if that is what fans really believe in... or if they would hail any Belos' death as the perfect one if Dana choose a different one?

They also justify the stomping as being part of horror-comedy genre and that Belos should not have any dignity what so ever because apparently letting him die in despair with no stomping is running the risk of making the audience feel "sorry" for him.

Honestly, these justifications make The Owl House feel more shallow. Like, why shouldn't the audience be allowed to feel sorry for Belos? What is the danger? That people would agree with Belos' views?

Or are we supposed to develop a black and white view of the world akin to a conservative view but inverted? And then hide behind the horror comedy genre to justify less drama? I hate to say it, but Nostalgia Critic is right about Belos being this strange outlier. The show seems to be afraid of actually doing a complex, tragic and yet irredeemable villain.

It doesn't make any sense to argue that Belos' death fits because of toh's genre as a horror comedy because the scene was neither played for horror nor laughs. At best, you have the image of Philip slowly being dissolved by the rain and then Raine's smug "that was satisfying" line. The overall tone of the scene is one of contempt as Philip tries one last plea to Luz only to be snuffed out (and weirdly validated) by the heroes. Its intent is to be cathartic for both audience (though as you know doubt know, YMMV) and the characters.

Frankly, despite its marketing, I don't see toh as either a horror or a comedy because it spends more time on slice of life stuff and high school teen drama and romance. And even when it does go for the horror and comedy, both are rather tepid. You want a real example of a horror-comedy for kids, then go watch Courage the Cowardly Dog or Invader Zim.

The reason why I argue the heroes validated Belos is because in the moment of his death, he clings to the idea that as humans, "we're better than this!" It's a moment of pathetic delusion that is appropriately met with silence but then it's ruined with Eda and Co. barging in with "Well, we ain't!" only to then prove his point by mercilessly stomping an already dying man to death. There's a reason why kid shows usually end with either the villain being imprisoned or not outright being murdered by the heroes. Evil has to die by its own hubris, not get killed by the heroes after the Big Battle when they're no longer a threat. I made a post about the importance of defeating a major antagonist twice.

Belos' death also doesn't work with a "Kill your oppressors" theme because the show isn't about that. The show barely spends any time showing why the EC is bad for the Boiling Isles and Eda is the only named wild witch we see getting harassed by them and even then, it's mostly played for laughs given how inept the coven scouts are (seriously, they're able to quit without fear of repercussions).

I think a reason fans are split on Belos' death is because of differing expectations; the fans who paid attention to Belos and the implication of his backstory and waited for every lie to come crashing down on him since that's what the show seemed to be building up to only to be unceremoniously ignored in the end were no doubt disappointed. Then you have the other fans who hated the character to the point that any gruesome death will do, regardless whether it made narrative or thematic sense or not.

Ultimately, I think the biggest reason his death doesn't work is because Belos fails as a villain.

Belos' status as a colonial puritan only works on a meta-level; it serves a cathartic release for marginialized people to see a representative of real world oppression beaten by queer characters as it fulfills the fantasy of finally overthrowing an oppressive system. The fatal flaw though is that none of this works on a narrative level because the coven system is either treated as a joke or simply a career path one must choose and we never see the disenfranchisement of wild witches. People largely get off scot-free opposing Belos, which undermines his credibility as both a dictator and a villain because no one cares about him until the plot needs them to. Luz doesn't even care about proving he's evil until Hollow Mind, which is halfway through season 2.

Belos as a villain only works if you project your own feelings and desires in wanting to see the Evil Christian/Evil Parent destroyed. While this is extremely satisfying emotionally, it does not make a sound story.

All the reasons why people like his death ("it's great the evil colonizer died so pathetically!" "omg, the white christian colonizer was killed by two queer people and their adopted son!" etc) are all meta reasons. And to be clear, it's totally fine if you thought his death was satisfying. But for many people, it did not work for a variety of reasons, including narrative ones. And that differing opinion should be respected instead of arguing some nonsense like "we have to make our villain as stupid/evil as possible or run the risk of people liking/sympathizing with him."

Belos should have died in a manner that connected back to his original sin: the murder of his brother. All of his lies and delusions and fear of being wrong should have played a part in the finale. He should have not died thinking he was right. He should have died realizing that all he did was for nothing. And that he is to blame. And that there is no one waiting for him back home.

[chaos0pikachu]

on a meta-textual/Doylist level what I like about the Korn/Tonkla/Win subplot is there's actual tension and the fact that JJay & Fuiaz are a "branded pair" doesn't influence the story so much that the subplot overall lacks tension.

Tonkla as a character has genuine feelings towards Korn and they've shared on screen intimacy that enforces their relationship - even if that relationship is partially transactional on Korn's side or otherwise. This provides tension in the narrative with the characters and makes their overall relationships with each other and thus the story much stronger.

Comparison - one that might get me kicked but it be what it be - example the Sand/Ray/Mew/Top storyline in Only Friends which had zero tension.

Why? Because the audience pretty much knew from the get RaySand and MewTop were endgame but that's just a factor, knowing the endgame isn't contingent on poor storytelling - don't we all know how Romeo and Juliet ends after all?

No what made is weak and flimsy was the narrative never provides any real stakes or tension for those characters.

Mew never once feels anything for Ray that isn't friendship, they never even attempt to have sex (even bad sex), Ray openly continues to hookup and pursue Sand whilst with Mew (and Sand is even mostly okay with this as tho it matters none at all because ultimately, it doesn't) and while Top was bothered, he wasn't threatened. It was all just narrative punishment and penance for his cheating. We don't even see Ray and Mew on a real date or share a real moment of genuine emotional intimacy that's romantic and/or sexual, their bookshop date only makes Mew think of Top, Ray spends more time with Sand, etc.

It's not just that the endgame is Sand/Ray & Mew/Top it's that the endgame is FirstKhao and ForceBook. It's that this is an rpf au dressed up like a tv show rather than a story.

Which is where Korn/Tonkla/Win feels different.

Off the bat Tonkla and Win are already vastly different characters from White and Tee from their roles in Dead Friend Forever. Korn is obviously different from Arm in Kinnporsche. And the narrative has built genuine feeling between Korn and Tonkla, where Win's feelings for Tonkla - at this stage - appear more one-sided. Yet Tonkla's slept with both characters, he's showcasing agency and desire in different ways with both of them. His relationship with both is very different. Will he even "end up" with one or the other? How will Korn react if/when he finds out about this affair? Especially since Win's a cop and Korn is involved in illegal shit. We don't actually know which makes the story far more exciting to engage in.

Even though objectively I knew Win and Tonkla would "get together" in some capacity because of JJay/Fuiaz, there's far more tension and character motivation here which makes for a vastly more interesting story.

My issue with "branded pairings" as a whole is more often than not I find it hurts the narrative potential of a story by cutting the tension off at the knees, by not allowing more interesting and complicated relationships and character motivations to form and develop. As well as hurting an actors growth and ability to like, act when they're playing the same boxed archetype to fit their branded pairings, well, their brand.

[ineffable-endearments]

I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

[nightcolorz]

Armand surgical malpractice meta (spoilers for TVA)

It’s, at least from what I’ve seen, a pretty popularly agreed upon conception that Armand’s mutation of Claudia b4 her death as described in TVA didn’t actually happen..partly bcus it’s such a drastic and grotesque retcon from her death in interview with the vampire so lots of ppl don’t want to address it as canon, and partly bcus it’s so bizarre and seemingly unprompted in context that it just seems more plausible that Armand would make this up as some sort of twisted shock value rather then actually do it. I used to buy into this theory and never rlly thought about it beyond that, and today for the first time I thought about it deeply and realized. Damn I rlly disagree! I think that Armand 100% canonically chopped Claudia’s head off and sewed it onto an adult body. I believe it happened as told. And I have many reasons !

First and foremost I don’t think that Armand is actually capable of lying so deliberately in this context. Interpreting most tvc narrators as potentially lying to our faces and intentionally twisting events to suit a narrative and a purpose of dictating our perception of them is, I think, accurate and justified, and smth I love about this fandom. Everyone is not to be trusted 100%, especially Louis and Lestat, who are said and implied many times to have completely fabricated some events in the books for the sake of painting a picture. Tvc serve as this over arching plot about multiple conflicting characters manipulating events of their lives to suit a narrative that we as the audience can pick apart and discover the truth within. Very much “this bitch said WHAT about me?? that dumb cunt is always spreading lies smh, it actually happened LIKE THIS” (they r both not telling the full truth). Armand however is very much an outlier here, and it’s part of what makes TVA so unique as a chronicle. It’s a big part of his character throughout the series, in TVA and leading up to TVA, that Armand’s way of thinking is so dysfunctional and his memory is so flawed (bcus of all his trauma) (and neurodivergence) (imo) that he isn’t able to fully conceptualize the events of his life as chronological and meaningful in the way that one would need to do to be able to write a memoir.

He can’t describe events in broad strokes, or wrap his head around a vast emotional impact in a way that is explanatory or intentional. Think of that conversation he has with Daniel in queen of the damned, where he explains that he isn’t capable of telling Daniel what his life in the past “was like” because that’s a concept incomprehensible to him. He only knows what happened, not what it was like, not how it affected him or how it shaped his personhood, what it means etc. It’s a form of dissociation almost. The vampire armand is the first time in Armand’s vampiric life that he self reflects beyond acknowledging events and his emotions in that moment, it’s the first time he attempts to make connections and understand himself in a way that is narrative and structured and not fragmented bits of history and A names. Part of this requires further dissociation. I definitely get the impression that since Armand is being so vulnerable in a way he is so unused to, yet is so significant, he is unable to register while he’s talking that not only David, but millions of people including every vampire in the world, will know what he says. He’s just laying himself completely bare, he’s talking and talking and only once he finishes realizes oh. Oh. everyone’s going to read this huh. It’s so cathartic he doesn’t consider that in the moment. It’s the first time he’s ever been capable of reckoning with his life in a self reflective way, of looking at it and explaining it and reasoning with it, structuring it in order, not fragments, etc, seeing the cause and the impact and touching on an overall conclusion (tho he never entirely gets there). These baby steps are so difficult for him already, and considering this part of his character I really think it’s a stretch to say that Armand would be capable of the thought process in his book of pure venting to go “maybe I should twist the truth here or change this or add this or lie about this so people will think of me this way or so Lestat can see this, etc” TVA is unreliable, more so bcus of how mentally ill armand is and how little he understands his own life and emotions, but not deliberately like iwtv and tvl. Armand even says that the book was for Benji and Sybelle, but it’s so unfiltered and horrific and vent-like that this sounds ridiculous. He doesn’t even have his stated audience in mind while he’s telling his story, let alone his broader audience. The audience was a complete afterthought, a barely registered consequence. So why would he lie about Claudia? How would he be capable?

it’s another common piece of conversation around this part of TVA where we go, Armand discusses how he never would want to tell this to Louis bcus he knows how badly it would hurt him, so why did he describe it so graphically? Well, cause of all I mentioned. It seems pretty clear to me that armand is almost haunted by the affair with Claudia, and he has no way of lying about this, so his descriptions seemed very much to me like a desperate bit of venting. He has never told anyone how horrific it actually was and it’s always been in his mind, so he just lets it all out. Makes sense, but the broader question is, if Armand wasn’t lying…why did he do that at all?? This I think is so interesting.

To understand this I had to think a lot about Armand’s motivations for killing Claudia at all, which is well, simply, revenge against Lestat and claiming of Louis without barriers. If Claudia dies Lestat will be sad and Louis will be mine and mine alone 👍👍 etc. but Claudia’s mutation was not rooted in either of these motivations, which is part of why it’s so shocking. He didn’t do it to hurt Lestat, lestat never found out. It just seems so odd and unprompted. But once I thought more about why Armand hates Lestat, and why he wants to hurt him by killing Claudia, it started to fit into place. Armand’s hatred for Lestat is rooted very much in his twisted resemblance to Marius that he perceives as being very strong and basically mocking. When he first sees Lestat in tvl he’s repulsed by him instantly bcus he sees him as this parody of Marius, this beautiful blonde man in striking red robes who boldly and carelessly defies the laws of vampires established by the children of Satan as if they are meaningless to him, revels in the indulgent world of humans like he belongs there, shamelessly as armand devotes himself to miserable repression. It strikes a nerve for armand, feels very personally offensive to him, like the embodiment of the traits that got Marius’s destroyed r coming back to mock him in his face. And then as he gets to know Lestat more deeply he only hates him more, bcus Lestat is not only bold and careless, but he’s immature and stupid, and he knows nothing. Armand in his horribly traumatized mind set registers Lestat as “like Marius” and takes this to mean “maybe he can save me, maybe he will teach me and free me from this hell, guide me and give me the purpose I need to be given.” But Lestat does not do this, lmfao. He actually destroys any sense of purpose armand had, rips him from his safety net, and when Armand begs for guidance, asks to be allowed to travel alongside Lestat so he can learn to be a person again, Lestat denies him. The only purpose he bothers to give him is the scraps, symbolic of his perverse indulgence that Armand despises, and fucks off. Lestat is grotesquely reminiscent of Marius, in the worst ways. It’s like his presence alone opens Armand’s eyes to how badly Marius has ruined him. He was the sun, the purpose, the guiding light, and then it was ripped away, and there was nothing else without him. Just a void.

So Armand hates Lestat for this very personal mockery of his own plight, and this hatred spirals into unbridled rage when Lestat returns to him and expects Armand to give Lestat the assistance that he denied him. Not only this, but Lestat found Marius, found marius and was granted guidance and love that Marius refused to give Armand after his indoctrination into the children of Satan. And Marius told Lestat to never ever do what he did, never make an Armand, because Armand was a mistake, he was too young to be a vampire, and now he’s a mistake he will never forgive himself for. And with this immense privilege that Armand spent a huge chunk of his life yearning for, guidance from Marius when he was his most lost, Lestat decides to disregard it. He decides that since Marius said it was bad to turn a child as young as Armand, he’d turn a child even younger then Armand, just cuz. He is once again the embodiment of Marius’s sins, the grotesque parody. Marius turned a teenager, Lestat turns a five year old. It’s almost cruel in how mocking it is, almost intentional in how personal. So Claudia is this child, this deliberate mistake made by someone who knew her turning would be harmful to her but was selfish enough not to care, then went on to regret it when he has to reckon with the consequences. Seem familiar? Armand sure thought so. So I imagine that being alone with Claudia, looking this deeply sad reflection of his own agony in the eyes, knowing she is about to die for justice against a warped parody of his Maker, for the sake of punishment for her own existence, I imagine this struck a cord of insanity in Armand’s fucked up mind, caused him to loose his absolute shit for just long enough to go what if I can fix her, what if I can turn this narrative around, give her the remarkable ending I know deep down that she, I , will never be granted. What if I can give her a body that will reflect her mind? What if I can make this abomination into a miracle? No wonder he pulled out the surgical tools 😭 No wonder he was so horrified by his own actions when he came to his senses, no wonder he refused to share this, kept it to himself for so long, until he finally broke and confessed it all in a desperate moment when he was too caught up in the dam breaking to realize he’d be exposing this horrific action to the world.

Armand sees Claudia as a repulsive mistake that should’ve never existed made by Lestat to deliberately mock him up until the surgery, when then for only a moment lost to time ended in blood she is another child who had her life taken from her too soon by an egotistical blonde man who thought he could play god with someone’s life. “They were done for anyway, he was going to starve to death in a brothel, she was going to die as a street orphan, the blood would be a service to them, a chance they never had” But they both know that’s a lie they tell themselves to justify the act of taking a child and molding it into what they please for fun, for pleasure, for companionship, just to see what would happen. Armand sees this for a moment and wants to give her a chance, give them both a chance, wants to see her as an adult, as someone who could have a life. And then of course, we know how that turns out 😭

[veinsfullofstars]

✨ May I interest you in some Dedede and Meta Knight as childhood friends? ✨

(ID: Kirby series fanart of King Dedede and Meta Knight reimagined as kids, interacting in various cute and wholesome scenarios such as coloring, cloud-watching, sparring with sticks, overindulging on sweets, protecting each other from bullies, and more. Design-wise, young Dedede is short and chubby with a smaller beak and three feathers sticking up from the top of his head. He wears a pair of red overalls with gold buttons on the straps and a pocket on the front with a white two-finger peace sign. Young Meta Knight is maskless and similar in appearance to Kirby, save for his yellow eyes, dark-blue complexion, and a pair of tiny wings on his back. Additional headcanons and worldbuilding for this AU under the cut. END ID.)

(AU info updated as of 11/02/24.)

Started on 10/09/23, finished on 10/11/23, updated 03/11/24, updated for color correction 11/02/24. NOTE: This was originally posted on my deleted account on 10/11/23. | Childhood Friends AU Masterpost

—

-This AU primarily takes place within the Kirby gameverse (with a few superficial elements borrowed from external media), the timeline starting many, many decades before the events of Kirby's Dream Land, eventually catching up to and following the main games’ canon (with nods to side games and some unique events added here and there for character flavor). I am trying to stay canon-compliant, but I’m also making things up as I go and changing them as needed, so no promises I won’t just go completely off the rails the more I workshop things, haha.

-I'm leaving ages nebulous in this AU (both because the series itself doesn't really give characters canonical ages and to keep the timeline a bit looser narratively), but - for clarity's sake - we'll say Dedede and Meta are both the equivalent of 7-to-11 years old here, though they first met a little earlier...

-Meta Knight is just called Meta for now - he won’t earn his title until after he starts his overstars military training with the Galaxy Soldier Army (GSA) in his late teens.

-That hammer belongs to Dedede’s mama - a former pro-wrestler - and will someday be passed down to him (once he’s strong enough to actually pick it up).

-In this AU, the GSA is an intergalactic military group fighting various malignant forces across the universe, their reputation generally positive thanks to a genuine effort on their part to balance acts of war and defense with acts of philanthropy, relief aid, and compassion, well-known enough to reach even distant Popstar. Most known Star Warriors - Sir Dragato, Kit Cosmos, Yamikage, etc. - are either long since passed on or retired somewhere outside of the story (with a few exceptions we may learn about later...). Though really more for background flavor and worldbuilding, the GSA becomes a crucial element to Meta's storyline later down the line, since - upon learning of them in his youth - he becomes enamored with their deeds and longs to be a knight himself (not yet aware of the hardships involved in becoming one).

-The kids like to spar and roughouse in their free time, but they sometimes get proper training from Dedede’s papa - a retired knight himself with connections to the GSA, who’d settled in Dream Land with his wife just before they had their only son. Meta looks up to him with the same admiration he has for the Star Warriors while Dedede doesn’t always see eye-to-eye with his well-meaning but strict father.

-In his early years, Meta is quite shy around people he doesn’t know well. In overwhelming situations, he tends to either shut down and go non-verbal or quietly slip away to recoup. That said, he is much more expressive around those he trusts, listening eagerly and chatting far more than he would otherwise. He also has a bit of an anger streak hidden just under all that resolve, though it takes a lot of prodding to bring it out...

-As a kid, Dedede is impulsive to a fault and likes to make wild plans that often put him and his buddies in precarious situations (when he actually follows through with them, that is). Meta is often the first to point out the flaws in said plans (if Para Dee doesn’t do it first) but inevitably ends up tagging along anyway, his wariness easily overturned by his curiosity.

-Despite the generally welcoming nature of the village, Meta still faces some measure of bullying due to his strange appearance and timid nature. Usually, he waits it out until either his tormentors get bored or Dedede steps in to defend him, but - as the taunts persist and his temper grows - it's only matter of time before he's the one getting into scraps rather than his bigger buddy...

[call-of-ishmael]

You Are (Not) Disposable

Rei is a very integral character to many of the themes of Evangelion, be it human connections, self determination, grief and loss.

But the one that has caught my eye a lot recently, having watched the Rebuilds to completion for the first time, is identity. Lets take a look at her incarnations and see what each uniquely brings to the story.

Rei II: Setting the Stage

The Rei we see from the opening of the show up until about half way through is already not the same Rei we see in some flashbacks (having been killed by Ritsukos mom) .

To Gendo and NERV at large, Rei is more an asset than a person, in a similar way to the other pilots, but to a more extreme degree, as she is a pilot that can simply be made again were the current one to die.

We only really see her find some enjoyment in the company of Gendo at first, before she meets the other pilots and has more of a chance to interact with people and experience new things.

The turning point for this character is at Episode 6 having saved Shinji and Shinji having saved her, both realize they aren't alone, she doesn't only have piloting the Eva in this life, she doesn't have to say farewell, there are people waiting for her.

She realizes she has a choice in how she wants to live her life, and this will only repeat for every subsequent Rei we see, she in the end, has the final say on how her life goes.

Her final sacrifice is the conclusion of this arc, shes come to a point where there's things she wishes to protect out of her own will, not because that's the mission she was ordered to do, she has grown close to Shinji and does not want to see him get hurt.

Ultimately this is done too out of the knowledge she can be made again, the toll the knowledge takes on her that she is at the end of the day for the machinations of the Human Instrumentality Project, disposable.

Rei III: I am not your doll

When we get to Rei III is when the show starts to really unravel the themes of identity more, as the new Rei starts bringing up the conflicts of the way the Ayanami series works, and her overall purpose into the grand narrative of the finale of Evangelion.

Rei herself is seen struggling with those questions, tears for memories that aren't hers, the knowledge that Gendo simply can make more of her, the shadows of her past selves haunting her present reality, the expectations of her to be the same Rei Ayanami the others were.

Much of this conflict is also seen in the more internal psychological moments of the final two episodes, who is she? what is she?

She exists as she perceives herself but also as the many ways people perceive her too, their previous experiences and memories with her.

The culmination of all this is perhaps one of the most satisfying moments for her character. Her refusal to be a tool anymore.

She wont allow herself to be used by Gendo, and so, changes the course of the Third Impact and of her own ultimate fate.

Who is she? She is herself, the final say on who she is does not lie in her previous incarnations nor on the value others place on her, but on her own choices and desires.

Rebuild of Rei

The Rebuilds are very interesting in their meta-commentary of peoples expectations for them

All the characters are similar but not quite, related but ultimately unique.

Rei in this series of movies starts off much more determined and driven.

While she still is motivated by wanting to feel closer to the people she loves she goes about it a different way, trying her best to bring Gendo and Shinji. She participates more in group activities and has a friend group, is more outspoken, and in a fascinating way to drive all this home the notorious elevator scene between her and Asuka has her not simply sit there and take a slap to the face, but catch her hand and not let herself be hurt.

This makes the moments that parallel original show scenes have a different impact on the viewer, seeing a more determined Rei ready to blow herself up to protect NERV HQ and make sure Shinji never has to pilot an Eva again at the end of the second Rebuild feels completely different to how it was in the original series.

By the time we see her for the last time, shes still determined, she still wants the best for the people she loves.

Gendo makes the same mistake he does in the original series, he assumes Rei will simply do what he asks of her, but Rei, proving him wrong once again, gives Shinji control of the Eva, respecting his choice to take that burden for himself, and to make the choices for his own future. And in the end, she like all the pilots finds her own place to call home, no longer having to bear loneliness by herself, after one last farewell to Shinji, and to us as the audience.

Ms. Lookalike: Finding your own way

The final incarnation i want to talk about is perhaps the most fascinating.

If the core of her character wasnt obvious enough, the movie decided to yell at the audience some more about the point of all the different versions of Rei.

You are not disposable

This Rei starts in a place much much further away from others even the first Rei we see in the original series does. Having so little interaction she struggles to understand a lot of the world around her, so still that she will only do what she is ordered to.

And this works in excellent contrast to where she ends up.

From someone who would not do something unless asked, to someone who ponders her own name, her own identity.

During 3.33, its stated as much to the viewer, when she asks Mari "What would Rei Ayanami have done" she gets the answer:

You are not her, what do YOU want to do

3.0+1.0 spends a lot of time following this, this Rei found a place she felt truly happy in, she learned from others and about herself. It didn't matter if she had been predetermined to like Shinji, she is happy that way, and if shes happy she can decide to pursue that.

People do not have expectations for her to be the same as the previous Rei, we see Toji and Hikari do not try to force that baggage on her, to the point of when she says shes not Rei Ayanami, they immediately respect it, calling her Ms. Lookalike instead.

Her end is not exactly a happy one, but she is happy, having found herself a place, having found out who she was, having the freedom to be herself, to be able to determine what the course of her life would be.

Who is Rei Ayanami? Rei is no one but herself, shes not a fake, not an imitation, she is simply herself. That choice lies with nobody but her.

[morethansky]

***TBB FINALE SPOILERS***

"The Cavalry Has Arrived" aka MY OTP IS CANON NOW

A truly absurd amount of meta and thoughts and screaming under the cut:

Overall

• I...loved it????? This is the biggest plot twist of all for me. Like I've said incessantly, I've had so many issues with the writing choices for this show, and I'm so grateful the brainrot set in so I could start watching it through a fandom lens and have way more fun with it than through a media critic lens and being a hater. But like...that was actually really satisfying to me within the parameters of where the show had led to in the last four episodes??

• As everyone on the planet probably knows by now, I would've been much happier if this show had led to the Batch choosing to do the right thing and joining the clone resistance, and if we never get another clone series, I will continue to be unbearable and salty about the lost potential of telling that story. But after Echo left and we stopped following his story, I gave that hope up. And ofc nothing about my criticism of this season is invalidated. But given the pieces on the board, I'd pretty wholeheartedly give the finale my stamp of approval!

• I'm ultimately glad that this show ended on a "We don't leave our own behind" note, because that's the clone energy and general Star Wars energy I'm looking for, and they did a great job of applying that theme to every non-villain in this episode, minor and unnamed characters included—but it's still so darkly funny for them to have continued to push this idea even though the first season is literally about them leaving their own behind and moving on. And then Crosshair calls them out on it. And then he just...leaves himself behind. Even in their first appearance in TCW, the Batch's entire vibe is that they keep trying to convince Rex to leave his own behind lmao. I just feel like the show wanted this adage to tie everything together, but then forgot to keep applying it somewhere along the way. But hurrah for this abundant use of it!

• My overall biggest criticism was that even within this one episode we got back on the rescue/captured/rescue/captured treadmill. It's the biggest plot crutch of the show. It's so goofy that Omega and Echo rescued both the children and the imprisoned clones by themselves. The setup made it so that by going to rescue Omega, Hunter, Wrecker, and Crosshair actually put her in more danger. And because they were there, more clones died, wtf!! But I do like the narrative flip—Echo and Omega were both saved by the Batch in their introductions in this era, and here are they are being the ones to save them in return. Omega and Echo also are the characters in the main cast who deserve the rescuer plotline the most, since they have been consistently portrayed as helping those in need no matter what.

• Hilariously, one of the most pivotal roles that the Forest Trio plays in regards to the GFFA at large is that they were essentially Rampart's rideshare drivers, thus enabling him to be there and force Nala Se not to hesitate to destroy Project Necromancer.

Rampart and Nala Se

• Hemlock saying his work makes him indispensable is fantastic dialogue; it just seems like some dickish thing he would say to shit on Rampart, but it ends up giving Rampart the idea to try to leverage his work to become indispensable himself, and in saying that line, Hemlock ushers his own ruin!!! This is the kind of script work I've been begging for.

• Also I was so right about Rampart being like a Kallus foil! That infamous shot of him in his sad, sterile room after Bahryn is mirrored here with Rampart sitting in pretty much the same position, except his path is the opposite from Kallus's.

• They did an EXCELLENT job with Rampart's fate. I was worried they were neutering him these last couple eps, even if the comedy was gold, but this was very well done. Everything that happens leading up to his death makes complete sense for his character, and it accomplishes the very key plot point of destroying Tantiss. At the start of the season I couldn't figure out how and why the Batch was going to end up delaying Project Necromancer for like thirty years, so I feel validated that they pretty much don't. Very typical of this show to not have the protagonists do the heroic work, but fuck it, I like this instance.

• The humanizing of Nala Se in this show has always been a bit of an interesting choice given that this is feels like such a direct successor to TCW and she was so clearly a villain there. But although they don't quite redeem her, her motivations and her fate were also artfully executed here. Her conversation with Omega pretty much takes into account every Nala Se scene in this show, which is a great way to wrap her character up. And I really like the mirror of Nala Se giving Omega her datapad in the season premiere, and Omega giving Nala Se a datapad here. Both times, Nala Se is determined to set Omega free.

• And I'm so glad there was a follow-up to the destruction of Kamino as well! Nala Se getting a bit of revenge against one of the beings responsible for the genocide of her people and destruction of her homeworld is not something I expected at all, and I love it. And the setup of Nala Se picking up the detonator and Rampart picking up the blaster is just fantastic, because you know from just those two shots that Rampart is willing to kill to gain Palpatine's favor for himself, and Nala Se is willing to die to make sure the being she loves will be free.

Echo and Omega supremacy

• Give me an Echo-led rebel show where he convinces all sorts of people in the Empire and the underworld to defect/help them, please!!! He's so good at it, completing Emerie's turn so efficiently! We have to assume Rex is also good at it given his cell and that he has clone spies and even undercover agents, but every time he sees Hunter he has tried and failed to recruit him lmao. Also REX'S NAMEDROP but him not showing up surely means...we'll see a continuation of his story soon after this...right??? Also this means Howzer still lives, oh, thank god.

• "Because it's exactly what I would do." Strategist Echo comeback yessss!! A nice little callback to the Techno Union arc that kicked this story off as well. And HELL YEAH Omega's relationship with Echo is my favorite out of all of her connections, and I'm living for their spotlight together this ep. I'm extremely invested in found family stories not relying on nuclear family narratives, and I love that you see throughout the show that Echo doesn't "raise" Omega like a kid—he trains her like a cadet. Like someone who he intends to be his equal, which is a nice and very appreciated contrast to others treating her like a precious sheltered baby.

• Their goodbye scene in "Truth and Consequences" is one of my favorites in the show, and I just adore that when Omega is upset, Echo doesn't coddle her—he reminds her of her duty to watch over the others, giving her a purpose and a reason to stand tall. When he conveys that he was worried about her and thinking of her while she was captured, he gifts her a weapon he designed and made for her during that time, so that she won't have to be defenseless after being defenseless for so long in captivity. It's so clone trooper, and I love it and the glimpses these details give us about clone culture and how the older clones cared for the shinies and the cadets and showed their love for each other.

• I also liked that Omega couldn't have escaped without Tech's training, since slicing was so vital. And all her stealthy stabbing is of course reminiscent of Hunter. And finally some emotional payoff for the ongoing bit about Wrecker being afraid of heights! I'm weak for inspirational Star Wars quotes, and this show hasn't had many, but "Just stay focused on what's ahead, not what's below," is a lovely one.

Forest conversations, my beloved

• The Kiners scored the fuck out of this episode!!! So many clever, thoughtful reprises. This is the first reappearance of Crosshair's theme that's played on the synths since he began healing! And then it segues into a soft violin tremolo version that makes me cry, and then it intertwines with "The Sacrifice" from Tech's death, ouchhhh. I have a lot of meta I need to write out about the tracks "The Reunion" and "They Always Work It Out" and how they say so much about Hunter and Crosshair, but I can't believe how well my analysis paid off in the cues in this scene! More on that in another post.

• Gosh, Wrecker's injury scared the shit out of me. But I love him so much and I'm glad he got at least a little moment, even if he didn't really have a story arc here. Or you know, in the entire damn show. And I ultimately liked that the purpose of it wasn't just to freak us out but to give them a plausible disadvantage and to give Crosshair someone to fuss over the whole time and act more recklessly because of it, thus reiterating this key character trait of his.

• I love Crosshair being worried about Wrecker and Hunter and them being worried about Crosshair. That's the squad content I crave and have been missing!! Unfortunate that it specifically has been happening when Omega is out of the picture. Writers, I swear to you, you can do both.

• Can't believe it took another half season for someone to say something about Tech's death, and it was Crosshair, who wasn't even there?? Cool line and sentiment, but man, so frustrating. I like this callback to his conversation with Rampart, though. "Depends on who's giving them" and in this first act he keeps trying to give those orders himself. Thinking of Rex on Umbara: "We're not programmed. You have to learn to make your own decisions."

• God the forest conversations in this ep and the previous one fed me so much. Hunter saying, "And so do those clones" had me literally jumping out of my seat and cheering. Baby boy, it took you so goddamn long, but thank you for finally actually giving a shit before the conclusion of your story. And "It's what I deserve," hnghhh that's the good shit, and it hearkens back perfectly to "I belong in here." And Hunter immediately telling Crosshair hell no made me very happy. And then later Hunter saying "Crosshair—" when he's worried Crosshair is still going to sacrifice himself, but Crosshair reassures him that he'll be right behind them... My heart! What a Crosshunt feast we got in this ep!!!

• Can't believe we also got so many Crosswrecker moments from the get-go and they kept coming! And my three precious little Techwrecker crumbs: the way Crosshair specifically chooses Wrecker to say the cutting remark about Tech to; the way Wrecker bows his head because that was right on target; and Wrecker being the one to watch Tech fall and to scream, "Don't do it, Tech!" in "Plan 99" yet the one to say with such conviction here, "We've always known the risks. And so did Tech." That's just so...finally accepting your beloved is gone ;_; Not really deserved by the text, which kept all but a total of like maybe one total minute of mourning off screen for some fucking reason, but.

Clone X, more like Clone Sexy

• There aren't nearly as many Clone X dudes as I expected?? I guess Crosshair's situation wasn't that rare after all? Or do they just run through them super quickly because Rex's team keeps taking them down?? Regardless, god, THEY ARE ALL SO SEXY. The way they animated their movements was so creepy and hot. And them not speaking was so eerie, I loved it. And then the moment that CX-2 did was so effective and terrifying!!! But remembering that those were clones in there is so, so heartbreaking.

• I really like that Echo really felt like both a clone trooper AND the resistance agent he is now this whole episode, and Hunter, Wrecker, and Crosshair actually briefly got to feel like commandos. The slick stealth and silent communication was also very sexy.

• MY GOD, I loved these action scenes. They were lit and choreographed so cool, they were super intense and had real consequences and close brushes with death, and the logic of the fight flow was really good, too. A character being incapacitated because they went to try to help an ally is always a wonderful driving force for action and gives it that crucial character-driven element that raises the stakes, and is great for making sure the main characters aren't too OP, and there was a ton of that here.

• Hunter and Wrecker getting shot by laser cannons and Hunter pushing Wrecker away from the blast made me shriek in terror AND THEN CROSSHAIR SHOOTING THE PILOT DEAD ON NO HESITATION NO ANXIETY NO TREMOR BECAUSE HOW DARE YOU HURT MY HUSBAND I'M FUCKING LIVINGGG. And then Wrecker stumbling over to Hunter and lifting the debris like he does in TCW. Boom, three pivotal character-driven action scenes in a row that divulge a key characteristic of each character! Excellently written and directed.

• Also I am SO SO SO HAPPY that we're getting to see this protective Crosshair come out in full force!!! This is the Crosshair who risked his life to try to save Mayday, who shouted hysterically when Hunter fell into the ice and was so desperate to get him out, who worried over Omega on Teth. I also really like this contrast with how he was about Echo—"Echo's on it." He knows Echo will get the job done and be safe and that's despite his former prejudice against regs. He's worried about Hunter and Wrecker and that's despite previously spending time trying to hunt them down. And when he suffers consequences, it's because of him worrying about them, and that's so delicious.

• Finally got to hear Crosshair screaming! And Hunter was already the screamer in this show, but goddamn does he get to scream in this episode. Thank you, directors, for this whump material! My man Steward Lee never lets me down.

• THE WAY THAT WHEN CROSSHAIR IS TRYING TO SAVE WRECKER HE REACHES FOR A DC-17 OMG!!!! I feel so validated! And just like with Mayday, he's incapacitated afterward...

• God the way CX-2 waits to be tossed the vibrosword and then leans down with it while Crosshair is already incapacitated is SO brutal, like this is not a battle injury. It's straight up what Anakin fucking Skywalker does to Count Dooku just before he becomes a Sith Lord, like holy shit, dude. This scene is so cool and I've watched it 10,000 times over the past 24 hours, but also why did he do that lol, is he just supposed to be particularly cruel?? Obsessed with tormenting Crosshair for some reason?? Also, these vibroswords are exactly how I've pictured Ahsoka's being in A Future for Us :D

• At this point I was like, uhhh, the messaging of Crosshair struggling with this psychomatic hand tremor since the first episode of the season and then the symptom literally being taken out of his........hands sure is a Choice, especially coupled with how they've treated Echo (or you know, not). When they showed him still with the symptoms later, I was very relieved, AND THEN HUNTER LITERALLY CURES CROSSHAIR THROUGH THE POWER OF THE LOVE AND FAITH AND TRUST HE HAS FOR HIM IS THERE ANYTHING MORE BEAUTIFUL IN THE WORLD???? But I'm getting ahead of myself.

Echo is the GOAT

• "You were helping us, Dr. Karr?" / "I am." I love this subtle line and how Emerie acknowledges that she wasn't sure of her loyalties before but is certain now. And I love that she says such a clone trooper thing, "You have my word," and then doing the clone shoulder pat, especially in direct contrast to the natborn kids hugging Omega just before.

• "Hey, kids. ...And other kids." is just so fucking 501st, I can't explain it. I'm just so ecstatic that they did Echo such justice in the end, giving a nod to everything about his character, even his dorkass cadet personality. And it wasn't just so he could die, thank god!!!

• Like Echo even got a DARTH VADER homage??? That's his mass-murdering general (affectionate). More on this here!

• Also is there anything more Big Dick Energy in the world than Echo eviscerating Rampart—who either the clones would recognize as a former vice admiral or at least see his captain rank plaque—with what may not be a theme this show really earned but is ABSOLUTELY a theme that Echo deserves and has shouldered for over two seasons...and then just straight up shoving him out of the way so that he can talk to his brothers???? And with his stormtrooper helmet—which is like Echo refusing to dirty his hands (including his new, long-awaited one) by touching Rampart oh my god??? Sexiest man alive.

• So the answer is no, there isn't. Fives is hollering from the afterlife. Half those clones immediately developed a crush on him in that moment. That one clone later placing a blaster in Echo's arms so gently confirmed this for me (remember the symbolism of Echo making the energy crossbow for Omega? He even gives her his borrowed blaster in this scene), but it's so sad that he died because of it, whyyy.

• Also I love the "Clones don't leave our brothers behind" riff on the "We don't leave our own behind" adage. It's very fitting that Hunter would put it that way because he only means his squad (+/-1), whereas Echo would see it as meaning his people.

• And I love how when Rampart first shoves Echo, the clone in front that Echo's been talking to prickles and makes brief eye contact with him, to be like, "Should we take him? I've got your back." I felt that girls (gender neutral) in the bathroom energy so hard.

• The clones helping each other out of their cells made me so emotional. And it's the same way that Hunter and Crosshair do later...

• Echo asking for volunteers, just like Rex did on Umbara..................

• I think this post is breaking and I'm still only two-thirds of the way through my rewatch, oops. And yesterday I stayed up until 8 a.m. after I put it on again after watching it for the first time... I'm so normal about this show. More tomorrow!

• Part 2!

[borisbubbles]

Eurovision 2024: Last Place

37. ISRAEL Eden Golan - "Hurricane" 5th place

Decade Ranking: 150/153 [Above Noa Kirel, below Roxen]

Where do we start?

Let's begin, perhaps by stating the obvious. Israel's participation in this year ruined the contest. You encounter an entrant or two that completely warp the meta around them at every contest, but never to an extent this cataclysmic. Every sour note of this contest, and there were plenty, sprouted from the decision to allow Israel into the year. That was the tipping point. I believe that makes "Hurricane" the worst entry of all times in terms of the sheer negative impact its presence had on the edition it parttook in.

The ESC discourse -on asocial media- completely revolved around the conflict in Palestine either to denounce the war crimes perpetrated by the Israeli goverment and the subsequent silencing of critical voices calling it out, or to make a stand against the Poor Young Girl who was unfairly maligned by radicalized leftists for a conflict she had no hand in.

So was it any surprise that Israel won every Western televote? Be honest. I know that the Twitter manchildren claim Israel cheated, but they are in denial. The televote was genuine. The scalpel slices both ways, sadly. For every heckler booing Eden or protesting for Palestine or announcing a Eurovision boycot or lecturing the general public to not vote for Israel, a sympathy vote for her arises because "Aw She Doesn't Deserve So Much Negativity, Poor Thing". That she willingly chose to rep israel at THIS time with THAT song is blissfully ignored. Eden Golan is not a child. She's fully accountable for the effects that her participation caused, and is perfectly a-OK with it.

So, wake the fuck up. The sympathizing nutcases were OPENLY mobilizing to vote for Israel without even watching a second of the contest, to prove a point against you know, "insane leftist wokery" or whatever they call it. "You can't make me think what you want or do what you want, TAKE THAT". It's the same principle that led to Brexit and Trump beating Clinton. Similarly, they attempted to hijack the results like a particularly nasty species of asian hornet because their 'Freedom of Speech' is more important to them than fair results in an entertainment show, or a potential genocide. Or maybe they were just indoctrinated. A smaller sample size due to boycots + 20 votes per crazed zionist, it's honestly a miracle Croatia STILL beat them in the TV overall.

In other words, pretty much every opinion about Eden revolved around the politics that accompanied the flag she flew under.

And I'm sorry, but Eurovision is not supposed to be about Israel. Why should THAT country get more attention, or even preferential treatment in this otherwise excellent line-up? That's not what it should be about.

It is THEM who it should be about:

None of these artists asked to be a part of this shambolic display. So in that sense, let's do something many have FAILED. Let's do what we're supposed to dp: Discuss the SONG, outside of context.

Frankly, there's remarkably little to say. Even without the context, "Hurricane" would have been bottom of the barrel for me regardless? It's a mediocre sappy ballad aimed to Make People Cry. We see such ballads pop up all the time in NFs (most recently Krick in Luxembourg and Noble in Portugal), where -more often than not- their sucktitude catches up with them and manifests a loss.

I've seen people be outraged that Norway's jury gave it points but I mean, look at any recent scandi NF and tell me a Hurricane wouldn't fit within its ranks. It's Undo, What if, A Monster Like Me, all the tacky soulless ballads with poor narratives preying on the soft-hearted and the guillible with cheap emotional manip. "Hurricane"was cut from the same dementor-esque, sympathy-craving cloth. Call me old fashioned, but I was taught that sympathy requires a modicum of respect, which needs to be earned, not begged for like a dog's dinner. (I hope the Europapa fans are reading this because this also applies to him, and that ghastly outro). If your song was written with the idea in mind of pinkwashing the deaths of a few thousand children, then perhaps you may have not fully earned the benefit of the doubt, jussaying.~

In terms of performance, Eden was vocally good, at least. It's her voice that carries it although i don't find her particularly likeable as a lead. Then again, she is a Russian nepo brat whose family emigrated to Israel after the Ukrainian war so that her daddy to secure his financial assets and the Golans could continue their lavish, privileged lifestyle in a safer country. It was always a challenge, so to say, to consider Eden Golan a likeable individual.

Also what is UP with the choreography? Why do the dancers look like they are loading air rifles? A Choice, to say the least.

So all in all, a pretty weak entry that always would have been in my bottom 3 for any country, but that probably had a ceiling of lower top 10 in a normal, generic year of ESC.

However, this was NOT a generic ESC. There's NO imagining "Hurricane" without its context which makes it so, SO much worse. It was specifically written in support of the Israeli victims in the war (why go through that trouble and not simply withdraw and spend the participation fee on providing for the families of the hostages? Isn't that more effective charity? But hey, what do I know.) There is no "depoliticizing", no matter how often you retcon the lyrics into gibberish. Hurricane's intentions are present in its rhythm, its instrumentation, the keys in which it is sung. The notion that you can separate it from its context is absurd.

And yet, that is precisely what the EBU were hoping for when they allowed it in, and it exploded into their face like a firework. I can't say they didn't deserve it. Ultimately, the full blame for all of this rests with them. If a certain entity threatens the integrity of your being, you get rid of the threat. You don't passively sit back crossing your fingers they leave at their own volition. The Israeli's would understand the reasons for exclusion, surely, as they've been applying the exact same principles to the Gaza Strip since mid October.

The EBU allowed them in, officially to prove Eurovision wasn't political and United By Music (in reality because they're cowards and didn't want to be the first organization to ban Israel from an international event, and be branded antisemites as a result). The result was the most politically charged and divisive contest of all time, rife with incidents that were as avoidable as they were outrageous. It couldn't have been further away from "apolitical unity" if it tried.

Hurricane was NEVER worth the price of admission. All the controversy, the security risks, the boycots, the antisemitism and xenophobia, the censorship, the harrassment of other delegations (which the Israeli delegation EAGERLY participated in) and of course the Israeli embassies in participating countries OPENLY advocating to vote for Israel as "a signal". Even the tensions that led to Joost's dubious DQ which I doubt would have happened at any other contest. This could all have been foreseen and avoided by excluding the country that clearly would have brought the contest into disrepute. Eurovision is now on life support. Congratulations EBU. You KILLED your own contest.

It briefly looked like Israel could win (leave to RAI to be woefully incompetent and blasé), which would have been the final nail in Eurovision's coffin but then they magically lost the televote (thank you SO much Eastern Europe, you are SO real for this) and stranded themselves in 5th place. Instead of being the Worst Winner of All Time, Israel are merely a mediocre also-ran, which I can live with. It makes "Hurricane"' marginally less appalling than "Unicorn" and "I.M" for me. Let their fifth place serve as a grim reminder for future editions that Hatred Breeds Hatred, and also, thankfully, that Love Can indeed Prevail.

THE RANKING