#and that whole idea that the audience’s attention causes the characters suffering because without it there is no story

[aslanzounder]

I think I could have easily included Utena and Madoka here, had I done this a few months later

I have to speak my truth.

[pyrumi]

Achilles Come Down: lyric interpretation and comparison to The Song Of Achilles by me :)

DISCLAIMER: So, before i continue i just want to clarify, this is MY interpretation of the lyrics, i feel that the song is not completely sung by Patroclus but by other characters such as Briseis, Thetis, Agamemnon and Achilles himself, so, it's totally fine if you have another interpretation, lemme know :D Also, this song is nowhere based on the book, is just that feel this song fits the novel.

Song: Achilles Come Down by Gang of Youths (2017)

Book: The Song of Achiles by Madeline Miller (2011)

Color code:

-Achilles

-Agamemnon

-Briseis

-Patroclus

-Thetis

This font means my interpretation :) some strophes may have 2 or more characters singing the part, so the part will have 2 or more colors

ACHILLES COME DOWN (2017) by Gang of Youths

Achilles, Achilles, Achilles, come down Won't you get up off, get up off the roof? You're scaring us and all of us, some of us love you Achilles, it's not much but there's proof You crazy-assed cosmonaut, remember your virtue Redemption lies plainly in truth Just humor us, Achilles, Achilles, come down Won't you get up off, get up off the roof?

"just humor us Achilles", talking about his charisma perhaps? Like trying to say that his death shouldn't affect him

Achilles, Achilles, Achilles, come down Won't you get up off, get up off the roof? The self is not so weightless, nor whole and unbroken Remember the pact of our youth Where you go, I'm going, so jump and I'm jumping Since there is no me without you Soldier on, Achilles, Achilles, come down Won't you get up off, get up off the roof?

Loathe the way they light candles in Rome But love the sweet air of the votives Hurt and grieve but don't suffer alone Engage with the pain as a motive

" Loathe the way they light candles in Rome But love the sweet air of the votives" painful to remember Patroclus? Hating that none of those candles aren't lit for Patroclus "Hurt and grieve but don't suffer alone Engage with the pain as a motive" Thetis' desire of Achilles becoming a god, not wanting him to be affected by some insignificant mortal's death

Today, of all days, see How the most dangerous thing is to love How you will heal and you'll rise above

"Today, of all days, see How the most dangerous thing is to love How you will heal and you'll rise above " According to the Iliad (books 19-20) and Miller, Briseis also mourns Patroclus' death, also because she had a crush on him as we previously know

Achilles, Achilles, Achilles, jump now You are absent of cause or excuse So self-indulgent and self-referential No audience could ever want you You crave the applause yet hate the attention Then miss it, your act is a ruse It is empty Achilles, so end it all now It's a pointless resistance for you

"Achilles, Achilles, Achilles, jump now You are absent of cause or excuse So self-indulgent and self-referential No audience could ever want you You crave the applause yet hate the attention Then miss it, your act is a ruse It is empty, Achilles, so end it all now It's a pointless resistance for you" This is what Agamemnon says, but, if you remember when they return to Phthia, Patroclus says as Achilles salutes the Myrmidons, that "he hates the attention, yet he craves it" (of course this isn't how it literally says but you get the idea, if you remember how it literally says, tell me :) )

Achilles, Achilles, just put down the bottle Don't listen to what you've consumed It's chaos, confusion and wholly unworthy Of feeding and it's wholly untrue You may feel no purpose nor a point for existing It's all just conjecture and gloom And there may not be meaning, so find one and seize it Do not waste yourself on this roof

"Do not waste yourself on this roof" i leave it to your interpretation

Hear those bells ring deep in the soul Chiming away for a moment Feel your breath course frankly below And see life as a worthy opponent

"Hear those bells ring deep in the soul Chiming away for a moment" Honestly, i feel like Briseis could say this too, but when speaking of soul, she does not understand Achilles into a deep level such as Patroclus did "Feel your breath course frankly below" Maybe Agamemnon watching him hesitate his decisions "And see life as a worthy opponent" Maybe Thetis still telling him about how she desires for him to become a god, despite her knowing he'll live a short life due to a prophecy

Today, of all days, see How the most dangerous thing is to love How you will heal and you'll rise above Crowned by an overture bold and beyond Ah, it's more courageous to overcome

"Today, of all days, see How the most dangerous thing is to love How you will heal and you'll rise above Crowned by an overture bold and beyond Ah, it's more courageous to overcome" This could also be Patroclus but also sounds as if Briseis is motivating Achilles to keep fighting

You want the acclaim, the mother of mothers (it's not worth it, Achilles) More poignant than fame or the taste of another (don't listen, Achilles) But be real and just jump, you dense motherfucker (you're worth more, Achilles) You will not be more than a rat in the gutter (so much more than a rat) You want my opinion, my opinion you've got (no one asked your opinion) You asked for my counsel, I gave you my thoughts (no one asked for your thoughts) Be done with this now and jump off the roof (be done with this now and get off the roof) Can you hear me, Achilles? I'm talking to you I'm talking to you I'm talking to you I'm talking to you Achilles, come down Achilles, come down

"mother of mothers" he is probably refering to Thetis

"Can you hear me, Achilles? I'm talking to you I'm talking to you I'm talking to you I'm talking to you Achilles, come down Achilles, come down" this part keeps repeating since there's no way Achilles can hear Patroclus

*Notice how they almost say the same thing, Agamemnon saying "jump off" and Patroclus saying "get off", you may have noticed it but i wanted to say highlight it :)

Throw yourself into the unknown With pace and a fury defiant Clothe yourself in beauty untold And see life as a means to a triumph

“Throw yourself into the unknown With pace and a fury defiant Clothe yourself in beauty untold And see life as a means to a triumph" i feel it's Achilles since it is some sort of talk to himself knowing that he won't come back or see the fall of Troy, and that rescuing Helen wasn't HIS real triumph but avenging Patroclus was his goal, which, he succeeded

Today, of all days, see How the most dangerous thing is to love How you will heal and you'll rise above Crowned by an overture bold and beyond Ah, it's more courageous to overcome

"Today, of all days, see How the most dangerous thing is to love How you will heal and you'll rise above Crowned by an overture bold and beyond Ah, it's more courageous to overcome" ok so, this part has a lot and here are my takes:

"How you will heal and you'll rise above" can be Thetis on two options: 1. Achilles ascending to the Olympus

2. Her mixing his ashes with Patroclus' so he could heal and be with he truly loved

"Crowned by an overture bold and beyond Ah, it's more courageous to overcome" Patroclus celebrating Achilles' and fallen Achaeans' victory over troyan soldiers (but let's make this clear, the war HASN'T finish). Patroclus could be crowning Achilles with laurel when both are in the Underworld, the demigod not only being praised by his philtatos but other fallen soldiers too, those who perished in the battlefield and the plague (the ones who had proper prayers and burials before Achilles' and Patroclus' death).

AAAAAA i hope you understood and liked my interpretation, remember, you can also tell me your interpretation of the lyrics too :) sorry for any grammar mistake.

EDIT: also, if you see some letters, words, phrases in bold or without color, i don’t know what happened🤔im trying to edit it but it won’t let me, so, excuse me for it😓

[the-desolated-quill]

WandaVision: ‘Subverting’ Good Television - Quill’s Scribbles

(Spoilers for the first five episodes)

Hey everyone! Well... it’s been a while, hasn’t it? The last time I wrote a proper review or Scribble, people still thought the COVID crisis would be over within a month. The poor saps. But I thought that as a special way to mark this year’s Valentines Day, we could take a closer look at the Marvel Cinematic Universe’s shittiest power couple in their new Disney+ show WandaVision.

The first of many MCU spin-off shows that nobody asked for, broadcast exclusively on Disney’s totally unnecessary streaming platform, WandaVision is about everybody’s favourite whitewashed Nazi experiment and her red sexbot boyfriend as they try to fit into a suburban sitcom neighbourhood without arousing suspicion.

Yes, you read that correctly. The MCU has a sitcom now. My life is now complete.

Sarcasm aside, I was legitimately curious about WandaVision because of its unusual setting. And considering one of my most common criticisms of the MCU is its total lack of creativity, anything that’s even a little bit subversive is bound to attract my attention. Of course ‘subversive’ doesn’t necessarily mean ‘good.’ I could hand you a canvas smeared with my own shit and call it subversive. That doesn’t necessarily make it good art. And that’s exactly what WandaVision is. A canvas smeared with shit.

So lets split this critical analysis/review/angry bitter rant into two distinct chapters. The first focusing on the plot and setting, and the second focusing on the characters. Okay? Okay.

Chapter 1: Bewitched

Critics seem to be utterly enamoured with the whole sitcom gimmick, and it is a gimmick. As far as I can tell from the episodes I’ve seen, the sitcom setting serves no real purpose whatsoever other than to make the show ‘quirky.’ Which I wouldn’t mind, believe it or not, if the show was actually funny. There’s just one problem. It’s not.

Now in some ways describing why a sitcom doesn’t work is often futile because comedy is largely subjective. What I find funny, you won’t necessarily find funny and vice versa. With WandaVision, however, I won’t have that problem. I can demonstrate to you precisely why WandaVision, objectively, isn’t funny. And it all comes down to one simple thing. The stakes. Or rather the complete and total absence of stakes.

The show makes it very clear from the beginning that none of what we’re seeing is real. The cheesy theme song, the era appropriate special effects (mostly. It’s actually very inconsistent), the joke commercials, and, in the case of the first two episodes, which are in black and white, the appearance of red lights and objects in Scarlet Witch’s general vicinity. (Gee, what a mystery this is).

Basically Wanda has brought Vision back from the dead and created this sitcom world for them to inhabit. I’ll explain the stupidity of this in Chapter 2. The point is none of this is real, and that has a negative effect on the comedy because the very nature of comedy is suffering. Take the plot of the first episode. Wanda and Vision have to prepare a dinner to impress Vision’s boss. If they fail, Vision could lose his job and the couple could be exposed as superheroes. If this were a normal sitcom, it would work. The stakes are clear and it would be satisfying to see the two struggle and overcome the odds. But here, we know it’s not real. If it’s not real, it means there’s no stakes. If there’s no stakes, it means there’s no suffering. If there’s no suffering, there’s no comedy.

It would be one thing if the unfunny sitcom stuff lasted for like the first ten minutes or so before making way for the actual plot, but it doesn’t. Oh no. It doesn’t even last for the first episode. Out of the five episodes I’ve watched, four of them are almost entirely about these unfunny, objectively flawed sitcom homages, each set in a different time period. The fifties, the sixties, and so on. And what’s worse is that nothing that happens in them is plot-relevant. That gets relegated to the last five minutes of an episode. So you’re forced to sit through twenty five minutes of boring slapstick and puns in order to catch even a whiff of actual story. Which begs the question... who is this for exactly? It can’t be entertaining to Marvel fans, who have to slog through all this pointless shit so they can figure out what the fuck is going on. Comedy fans may get a kick out of the sitcom pastiche at first, but after four episodes, surely the joke would wear thin. So why is it in here? Clearly someone in the writer’s room absolutely fell in love with the idea of doing a Marvel sitcom, but nobody put in any time or effort to figure out how it would work in context.

I cannot stress enough how bad the plotting of this series is. As I said, the vast majority of a thirty minute episode is about shitty sitcom plots that aren’t funny and don’t have any impact on the story, only to then tease you with a crumb of actual plot in order to keep you coming back for the next instalment. Admittedly it’s an effective strategy. I was more than ready to quit after Episode 2 until that beekeeper showed up out of the sewer (don’t ask. It’s not important). WandaVision essentially follows the Steven Moffat school of bad writing. String your audience along with the promise that things might get more interesting later on and that all the bullshit that came before will retroactively make sense by the end. Except, as demonstrated with BBC’s Sherlock, that doesn’t work. And even if it did, it wouldn’t justify wasting the audience’s fucking time. And that’s what the majority of WandaVision is. A waste of time.

The only episode that doesn’t follow the sitcom format is the fourth episode. Instead it basically exists to explain all the shit that happened before. The shit that the audience, frankly, are smart enough to figure out for themselves. Wanda created the sitcom world as a way of coping with the loss of Vision, blah, blah, blah. Yeah, we got it. Thanks. It doesn’t advance the plot or anything. It’s just a massive info-dump. But by far the lowest point was when Darcy (by far the most annoying character in the first Thor film and is just as obnoxious here) was sat in front of the TV, watching the sitcom and asking the same questions we were. Not even attempting to look for answers. Just reiterating what the audience is thinking. Like this is an episode of fucking Gogglebox.

In the end it becomes apparent why the series is structured the way that it is. It’s to hoodwink people into subscribing to Disney’s stupid streaming service. If you think about it, there was no reason for WandaVision to be a TV series other than to lure gullible fans in with a piece-meal story buried in a mountain of crap. This isn’t a TV show. It’s what is cynically known in the world of big business executives as ‘content.’ They’re not interested in entertaining the audience. Instead they crave ‘engagement’, which isn’t the same thing. Watching WandaVision is like staring into the void, waiting for something to happen, while Disney charge you for the privilege.

Chapter 2: I Love Lucy

So the plot sucks balls. What about the characters? Surely if Wanda and Vision are likeable at least, it’ll give us something to cling onto.

Well as I was watching the first episode, it suddenly hit me that I couldn’t remember anything that happened to them in previous films. I knew Vision died, but other than that, I couldn’t tell you significant plot details or their personalities or anything. Not a great start.

See, up until now, Vision and Scarlet Witch have been little more than background characters. So already there’s an uphill struggle to get us invested in their relationship, especially considering we haven’t actually seen that relationship develop. In Avengers: Age Of Ultron, Scarlet Witch is killing people because she’s pissed off about Tony Stark killing people (you work that one out) until all of a sudden she stops and joins the good guys because the script said so. Vision meanwhile is introduced as a convenient deus ex machina to beat Ultron and gets no real personality other than he’s a robot. Captain America: Civil War comes the closest to giving Wanda a story and personality of her own as it’s her actions that cause the Sokovia Accords to come into effect, but she never gets any real growth or payoff as the film is heavily focused on Cap and Iron Man’s penis measuring contest. And as for Vision, all he does in the film is accidentally cripple War Machine. No real character or arc there as such. And then we have Avengers: Infinity War, where Wanda and Vision are now sporadically in love and on the run until that pesky Josh Brolin, looking like a CGI cross between Joss Whedon and a grumpy grape, comes along and rips out Vision’s Infinity Stone to power up his golden glove of doom, and the film treats this like a tragic moment, except... it isn’t. Because we haven’t really had the time to properly get to know these characters and see their romance blossom. So instead it just comes off as hollow and forced.

WandaVision has the exact same problem. Apparently Wanda was so distraught about Vision’s death that she broke into a SWORD base, stole his corpse, brought it back from the dead... somehow, and then enslaved an entire town of people to create an idyllic lifestyle for her and her hubby while broadcasting it as a sitcom to the outside world... for some reason. Putting aside the dubious morality of it all, it’s impossible to really sympathise with Wanda or her supposed grief because we’ve barely spent any time with her. Had the Marvel movies taken the time to properly explore the characters and show us their relationship grow and develop, this might have had more emotional resonance. But no, it just happens. In one film they barely speak to each other and in the next they’re a couple. No effort to explore how they feel about each other or any of the problems that may arise trying to date a robot. It just happens and we’re just supposed to care. Well I’m sorry, but I don’t care. You’re going to have to try a little bit harder than that I’m afraid. What’s worse is that, thanks to the whole fake sitcom thing, it’s impossible to really become invested in Wanda and her plight because the show has to constantly keep us at arms length at all times in order to keep up the pretence that this bullshit is somehow mysterious.

Looking through the WandaVision tag, it amuses me how many people say that she’s acting out of character. And yeah, her actions are a bit of a head scratcher. Why would an Eastern European’s ideal life be an American sitcom? Why a sitcom? Why kidnap an entire town? Why keep changing the decade? None of it makes sense, but you’re wrong for thinking that Wanda is behaving out of character for the simple reason that Wanda has never actually had a character. In fact, ironically, Wanda mind controlling an entire town and forcing them to do her bidding is probably the one consistent thing about her as she did this in Age Of Ultron. In interviews, Elizabeth Olsen and Paul Bettany described how they used actors like Elizabeth Montgomery and Dick Van Dyke as influences, which is really funny because they’re straight up admitting they don’t have characters and even now they’re still not playing the characters, instead emulating the work of far better actors.

As I was watching the show, it became abundantly clear that not only do Marvel not have the faintest idea what they wanted to do with these characters, but they also straight up don’t give a shit about these characters. Wanda in particular has had a rough time under the tyrannical regime of the House of Mouse. First they cast Elizabeth Olsen, a white woman, to play a Romani character, then systematically erasing her Jewish roots, even going so far as to put a cross in her bedroom in Civil War, and now the character is being butchered even more by forcing her into an American sitcom housewife role that she apparently willingly chose for herself, which is laughable. I mean say what you like about Magneto in the X-Men films, at least they actually depicted his Jewish culture. At least they recognised his Jewish background was important (though not important enough to cast a Jewish actor apparently). Wanda’s steady cultural erasure over the years is incredibly insidious and judging by Olsen’s comments in interviews, where she called Wanda’s comic book outfit a quote ‘gypsy thing’ unquote, it seems nobody has an ounce of fucking respect for the character or the culture she’s supposed to be representing. (and to all those kissing her arse saying it was a slip of the tongue, she has been repeatedly called out for using the slur in the past, so at this point I’d describe her behaviour as wilful ignorance)

If you want further proof of how much Marvel doesn’t seem to care about Wanda, look no further than her brother Pietro, aka Quicksilver. At the end of Episode 5, Wanda brings Pietro back from the dead, except it’s not Pietro. It’s Peter Maximoff, the Quicksilver from the X-Men films played by Peter Evans, who coincidentally is not Jewish or Romani either. So Quicksilver has the dubious honour of not only being whitewashed three times, but also twice within the same franchise. But should we really be surprised at this point? It’s Marvel after all. The same company that whitewashed the Ancient One in Doctor Yellowface and claimed it wasn’t racist because Tilda Swinton is ‘Celtic’. But now I’m going off topic. My point is that this isn’t a simple case of recasting an actor like Mark Ruffalo replacing Edward Norton as the Hulk. WandaVision actually acknowledges the recast in-universe, which makes no sense. Why would Wanda bring back her brother, only to make him look like a different person? We the audience may be familiar with this version of Quicksilver, but she isn’t. That would be like me bringing my Grandad back to life and making him look like Ian McKellen. He’d be perfectly charming, I’m sure, but he wouldn’t be my Grandad. 

If Marvel really cared about the characters or narrative consistency, they would have brought Aaron Taylor Johnson back. Instead, now they have absorbed 20th Century Fox into the hellish Disney abyss, they use X-Men’s Quicksilver as a means to keep viewers from switching off and so that people will write stupid articles and think pieces about whether the rest of the X-Men will show up in the MCU. It’s like dangling your keys in front of a toddler’s face to distract them from the rotting corpse of a raccoon lying face down in the corner of the room.

And it’s here where I decided to stop watching the show because fuck Disney.

Epilogue: One Foot In The Grave

You know, I am sick and tired of the so called ‘professional’ critics bending over backwards to praise these god awful films and shows when it’s so clear to anyone with a functioning brain cell how bad they truly are. WandaVision is without a doubt one of the most cynically produced and poorly structured TV shows I’ve ever seen. Its riffs on classic sitcoms are pointless and self-indulgent, the writing is terrible, the characters are unlikable and unsympathetic, and it’s entirely emblematic of what the entire MCU has become of late. And it’s only going to get worse as Disney drowns us with more ‘content’ to keep the plebs ‘engaged’. In short; pathetic.

[mikkeneko]

Some good meta in the comments (punctuation edited for readibility):

i deffo think its because of the nature of their tragedies and the length of time it takes too. a fix it for tcgf would dramatically undercut the growth and potential development of both characters, whereas the idea of fix its for mdzs go back maybe 30 years at most? and span that time usually as well which gives every character the same chance to grow but in different ways. the good mdzs time travel fics are the ones where they don't escape The Rammys but experience vastly different ones that the Travellers cannot prepare for and could never have seen coming. there's also the whole idea of the extremely closed narratives in mdzs! a LOT of time travel fics deal with the idea that now Everything is Known, which is a huge point of the novel! while our attention is on wwx and the wens, there is a WHOLE other evil brewing elsewhere. - by @northisnotup

i think its fundamentally a compatible trope with the type of tragedy. most of the drama resolves around “if only he knew if only they knew” type of secrets and culminates in drastic choices -- the undo/ctrl+z lets you explore how the narrative would flow. - by @mizukibull

personally i think it's because there is so much pain in MDZS that is caused by moments ripe with 'what if' potential -- moments that all build on each other. as you read and suffer you can't help but think 'if only they had known'! 'if only they had talked'! 'if only someone had helped'! 'if only they'd been more understanding'! 'if only they'd made a different decision'. MDZS is just FULL of these instead of having one key one -- or a couple. just so many! most aren't inevitable or impossible to change, they just happened that way! or the world is just like that. pure chance that something or someone turned out in a certain way, and then previous events conflate into something else tragic. so many things like that that i think to us as an audience it becomes a tapestry of IF ONLY I COULD CHANGE IT points that is too tempting not to touch because there's so many of them! and quite a few could be averted by someone just making a different decision, starting with the Wei couple and the nighthunt that killed them probably. everyone reading MDZS is likely led to have their own theory of how tragedy could have been avoided. and thus, fix it fics abound. - by @avourel

the time travel fix-its are the same reason i think. mdzs is a shakespearian tragedy (hamlet specifically) where everything is caused by the nature of the characters, NOT fate. so for the characters within the story 'nature' looks like decisions + coincidences. there's always room for that hope that if you JUST could get there earlier you could change their mind or manipulate the situation around their personality.

tgcf is an epic or a fable …. where the characters are not really characters but functions of the story. like -- hades isnt a person he's a personification. pandora/eve will always open the box/eat the apple -- orpheus will always look back -- xie lian will always fall from grace, because they arent people causing the events of their stories, they are a function of a parable or an allegory for how the world works

going back in time can't fix anything bc they exist to have those fates… there IS no xie lian without the fall from grace bc his whole purpose is to embody it :( to explain manipulation and corruption and love.

i think fix-its make sense for mdzs and svsss bc theyre character driven as OP said, but tgcf & myths are driven by the author's need to personify the phenomena in our real world… its hard to think of a fix-it for that. like you can write a fix-it for Hamlet but not Macbeth. how do you write a fix-it for The Ones Who Walk Away from Omelas? - by @mushroomrice

I've been thinking about how the tcgf roleswaps are always god tier and the mdzs ones always fall flat (svsss being in the middle) and I have a theory.

Mdzs is fundamentally a Shakespearean tragedy; though you wish things turned out for the better, due to each person's nature and the circumstances they are in, there is literally no other choice they would or could make, and that is what the tragedy is built on. Hamlet takes five acts to kill Claudius because he is Hamlet. Wei Wuxian defends the Wen Remnants to the death because he is Wei Wuxian. Trying to put Lan Wangji in his shoes similarly doesn't work because of the nature of the tragedy, and also because though the hold the same values they are fundamentally different people with different ways of thinking, and would never take the same path.

Scum Villain's tragedy is not brought about by Shen Yuan or Luo Binghe. It is inherent in their circumstances, and influenced by their actions, but fundamentally the tragedy is within the narrative itself -- represented by shang qinghua's original draft and by the system. A roleswap between Shen Qingqiu and Luo Binghe changes the plot, sure, but the narrative remains the same. If that makes sense.

Tcgf however is built around the fact that Hua Cheng and Xie Lian are two sides of the same coin. Xie Lian is a god who almost became a calamity; Hua Cheng is a calamity who refused to become a god. Xie Lian was born blessed with luck and lost it all; Hua Cheng was born under a bad star and now has all the luck in the world. Xie Lian is a prince who became a beggar; Hu Cheng is an urchin who became a king. They're even more yin and yang than wangxian are, equal and opposite in every way. And THAT is why it's so tasty. They're distorted reflections of each other.

[bitch-for-a-rainbow]

So there's a blanddcheadcanons post that says that "Kara is the mortal avatar of Rao" and I really don't like it, especially in the context of SG 3x04 (The Faithful). At best, as was pointed out to me by a friend with whom I discussed this post, the House of El is likely blessed and somewhat sponsored by Rao, which probably doesn't do much but produce Krypton's greatest heroes, given what the word "El" **means** in Kryptonian. I'm interested in your thoughts on this (pls post your answer).

    I reject the headcannon solely because if it were true it would mean Coville was right and I fucking hate that bitch.

     In all seriousness, though, this is an idea I've seen a lot and I'm not a huge fan of. I don't know much about Raoism beyond what appears in the show and that which can be inferred off of the show. One thing I would point out though is that El in Kryptonian (while obviously being intended to mean God by the original comic writers) can mean Sun or Stars, and since the Kryptonians in the show are, as far as I can tell, monotheistic, and worshipped only one particular star, the El family is not necessarily named God. It would, however, signify their enormous prestige on Krypton and contribute to the famous El pride (or rather, arrogance). I’m not sure it would necessarily have to mean anything more than that-- that the Els are a respected house who have produced a variety of successful politicians, civil servants, and scientists. And (this time reaching a little bit) that they are perhaps so old and respected that their house name was once a title. 

      There is a certain allure to the theory, for sure. Kara is a paragon character. She always, always does what she thinks is right, regardless of the cost, personal or global, and regardless of what other people might think of it. She has a very direct moral compass, and there are only a handful of times when she doesn’t follow it, all of which involve saving Lena. Ship who you want, but it is notable that Kara routinely prioritzes Lena’s life over that of others given the rarity of that happening otherwise. She never even considered breaking Rick Thompson’s father out of prison when he kidnapped Alex, and all he’d committed was bank robbery. Kara has lines she does not cross (though murder is clearly not one of them). She is a character that has seen some of the worst that sentient life is capable of, has seen more death and suffering than most people could imagine, and she came out of it with an all-encompassing desire to protect others. She lives to give people hope. Plus, the humor of having Kara-- the one person most offended by the idea of being an Avatar of Rao-- turn out to be an Avatar of Rao is great.

       But, I would also say that having Kara want to do good because she is the avatar of a benevolent god is reductive and not particularly true to her character. It is true that helping and protecting people is a large part of the core of who Kara is. But there is a difference between altruism and the self-destructive, bordering of suicidal desperation to save absolutely everyone that Kara practices. And to anyone who doubts the suicidal bit, I direct you to the season 1 finale where Kara literally goes on a goodbye tour because she thinks if she goes out to fight Non she’ll die. She still goes because she has hope, but that hope is that she can at least save Earth with her life. She doesn’t fight because she is certain in the ultimate victory of good and justice. She does it because she more afraid to lose another family than she is to die. Kara doesn’t become Supergirl and risk her own life because she believes in good, she does it because she can’t stand to listen to people suffer-- because she has suffered. To use Alex’s words in 1x13 “You fight everyday to keep people from struggling like you have.” Notably also in 1x13, Kara wakes up from the Black Mercy and her first words are “Who did this to me?” and then she goes after Non in what could arguably be described as a homicidal rage-- a rage that is fueled entirely for personal reasons, not the greater good of Earth (though that comes as an added benefit), which is.... not very befitting the avatar of a benevolent god. 

     A major part of season 1 is Kara dealing with grief and rage. She nearly breaks a guy's arm in episode 6 because he screamed at her for damaging his car, to hell with the children he'd almost hit with it. In season 3's Midvale flashbacks we see her first put both hands through a lunch table, then attack Jake when she suspects him for Kenny's death. She gets better at controlling it as the seasons progress, but during Crisis she very nearly melts Lex. Also not particularly godly of her. 

     Then there is the fact that so much of who Kara is is shaped by fear: fear of the government, fear of humanity, fear of abandonment, and fear of herself. In her civilian life, Kara is, for the most part, unnoticeable. She's polite, soft-spoken, doesn't wear a lot of bold colors or styles, and is often a pushover. As shown by her encounter with Red Kryptonite, Kara would not dress or speak the same way to people without the pressure of hiding her identity (though much of her dialogue is purely the loss of her "don't be an asshole" filter, some of it is stuff she had every right to say before and just didn't). I have always found that episode to be very interesting purely for the fact that Kara doesn't actually seem to be seeking harm on others so much as seeking their attention. Her argument with Alex is almost entirely about how much she hates having to hide and pretend to be less than she is. Kara drops Cat off the balcony and then catches her. She attacks the police when they point weapons at her but doesn't kill or even hurt them that badly, instead of destroying the car they're using as shelter. Red-K removed her inhibitions, made her angrier, yes, but if her goal was to actually hurt people, she could have done so-- would have done so, and with great ease. She goes to a public bar and uses super strength to smash bottles by flicking peanuts. Why do that at a crowded bar? Why not just flick potato chips at the windows in her own apartment?

      This is Kara at her absolute worst-- but does she seek out the DEO agents who shot her out of the sky? Does she go after Maxwell Lord or Non? No. She tries to make people pay attention to her. Her most shameful and hideous desire is for people to give her respect. (Admittedly, respect gained through fear, but still.). Kara's a nice person-- much, much nicer than average-- but a lot of that "nice" is just her avoiding conflict to avoid attention.

      Kara is a good person. Kara inspires people. But that is because Kara gets up every day and chooses to be good and to inspire. It's one of the reasons I enjoy Non as a villain so much-- he and Astra are Kara's narrative foils. They also remember Krypton and grieve its loss. They also were trapped in the Phantom Zone. But where Kara had the Danvers to convince her that some good people existed and would risk themselves just to help others, Non and Astra had Alura sentencing them to eternal suffering rather than helping them save their planet (through the means they thought necessary) and then landed on Earth and found it headed on the same path as the planet they'd just lost. Kara had people to help her grieve. Non and Astra were surrounded by misery. They lost hope. Kara discovered it.

     Kara is the Paragon of Hope because she has been hopeless. Because she has suffered so much, seen so much, and because she chooses to believe in a better future. She didn't have hope her first time in the Phantom Zone. She didn't even have hope for a while on earth. From what we can gather, Kara's choice to start actually believing in the future was a gradual shift that occurred sometime after Kenny's death and has lasted her ever since. For Kara, hope is learned. She chose to hope and she won't let it go, and to assign that incredible victory off to her being a God is an insult to her growth and to her character. 

   Now I personally thought “The Faithful” handled this concept very well. 3x04 is one of my favorite episodes of television in general, let alone in Supergirl. Season 3 is my second favorite season, and that says a lot for its good episodes when the bad of season 3 is so, so very bad (To say nothing of the episode to episode production value, we have the waste of Argo, Mon El’s return as obviously he’s grown he has a beard Mon El, and whatever the hell was going on with Kryptonian genetic engineering eclipse causing witches). To this day I don’t know why Kara had magic dreams. The show did nothing to explain it and I can’t imagine up a reason. 

     But “The Faithful” works because it highlights the whole paragon part of who Kara is. When you realize that every person in the room of Coville’s cult is a person she has personally saved-- that hits hard. Especially since only a fraction of the people she’s saved would ever set foot inside that building with the totally not-creepy, entirely wholesome way they deliver the invitations. (“Your daughter is special. She has been chosen. As have you.”) It works because it focuses on how the average human must view Kara, the ones who don’t see her argue with her sister over potstickers and crush her phone when she gets mad. It works because of how desperately hard Kara tries to be a human. It works because the writers know that we, the audience, do not see Kara as anything but a regular person with irregular abilities: a kind and remarkably devoted person, but not a god. 

[autumnblogs]

Aside Glance: The Palpable Absence of the Dubiously Canonical

So you might have noticed throughout my writings that I have at the same time avoided directly talking about any of the expanded universe material while also occasionally alluding to it just enough to make it noticeable. At least, probably.

So to nobody’s surprise, let me say;

I don’t like the Homestuck Epilogues.

Before I dig into why, I wanna dig out what I think I actually do like about the Homestuck Epilogues. CW: for mentions of suicide, sexual violence, fascism, genocide, etc. Spoiler Warning for the Homestuck Epilogues, although if you haven’t read them by now, good; don’t. Keep reading for my thoughts on the Epilogues.

I do like that the Homestuck Epilogues say quite loudly and clearly that Fascism Is Terrible, and that Neo-Liberals are often Discount Fascists at best in terms of the material effects they have on the world that we have to share with them. They can often end up being interchangeable, and events can cause someone with a temperament predisposed toward Neo-liberalism down the path of bloody reactionary sentiment the way it did with Jane.

Homestuck has always been a pretty soundly anti-authoritarian work, and pretty aggressively contemporary work, so it makes sense that Homestuck^2 would reflect an internet culture rabidly obsessing about the politics of the Trump-Era United States, cast its villains as parallels to the Trump Administration, the grody religious movements it catered to, and the hyper-rich dingalings who benefited from it.

I do like that the Homestuck Epilogues develop the theme of criticizing the author and continues to call attention to its narrators, this time by explicitly casting them as villainous, and morally ambiguous/incomprehensible respectively. A central idea in Homestuck is the relationship between Author, Audience, and Characters, and the blending of the lines between them.

I like that it calls attention not just to the idea that a story’s narrator is an agent themselves, but also to the reality that the narrator may not have the best interests of either their readers, or their characters in mind. I like that the authorial powers of these characters are represented as overtly dangerous and evil when they are addressed at all.

I also like that the Homestuck Epilogues are rather brutally honest about the fact that sometimes, the people that you grew up with - your close friends - grow apart from you, and turn into kind of bad people. I’ve watched that happen in real time, and have had to stop hanging out with people because they just kind of... turned evil. That’s something that needs to be discussed more in fiction, and more honestly than the usual way. When the most visible example of like, someone you knew and loved turning into a bad person is like, Anakin Skywalker, maybe the world needs more stories about that.

So good, that’s what we’ve got for things I think were good to say. Well done.

What don’t I like about the Homestuck Epilogues?

In a word, I think, they are cruel. Relentlessly cruel. Even actively malicious.

Homestuck has, of course, always been rather mean-spirited and adversarial, pretty much since page one. And really, so has Andrew’s writing in general, since the days when he ran the site Team Special Olympics. His humor walks a fine line between and outrageous and genuinely offensive, as he dares you to say, “That’s fucked up!” so he can respond “it was just a joke, where’s your sense of humor?”

But the Epilogues transcend the usual sardonic envelope-pushing we can usually count on Andrew for, and instead opt to sink their teeth into the readers in an assault on the senses, and on the sensibilities. Reading the Epilogues is a brutal experience to endure emotionally, and in a lot of places, morally offensive.

And they are this way practically from the first page; our very first impression of the Homestuck Epilogues is a content warning that presents itself in such a way as to be almost unmistakably parodic. The stylization as an AO3 work, particularly in the context of Homestuck, where these sorts of overzealous content warning pages are associated with preachy jerks like Kankri, it comes across as a direct challenge to the viewer, and by a challenge, I really mean an attack. It is a mean-spirited joke at the expense of people who have a desire to curate their media experience - and then the authors have the gall to say that the one of the goals of the Epilogues is to challenge people to curate their media more.

Every time a character could conceivably make a bad decision, or become a more ill-conceived version of themselves, they somehow manage it, which becomes all the more unbearable because of the identification of character and audience that has been the case throughout all of Homestuck. If Homestuck introduces us to this entire cast and says, this is you, the Epilogues seem to follow up with and there is nothing good about you. Jade Harley somehow transforms into a grotesque caricature of a trans-woman, a girl who is sexually incontinent and predatory in a way that is directly tied to her having a dog penis - a state of being which the text variously slut-shames her for in Meat, or alternatively uses to blame her for ruining Dave and Karkat’s relationship in Candy.

John Egbert is severely depressed and dysfunctional, and this leads him either to go off and kill Lord English to chase the thrill of adventure and his own sense of purpose (in direct opposition to the all-but-explicitly-stated takeaway from Homestuck which Dave gives us, that the better option is to just leave the story alone altogether - explicitly the worst decision he could make according to the rules of Homestuck) or descend into decades of nihilistic solipsism while the world disintegrates around him.

Dirk’s worst natures take over him and transform him into a person who can only conceivably be satisfied either by becoming an arch-villain, or by murdering himself.

The Epilogues are aggressively cruel to Jake English, choosing to double down on the lack of emotional resolution he suffered from at the end of Homestuck, and squarely placing the blame for his own misery on his own shoulders, in a way which is pretty hard to read around, which is part and parcel of the general malice which Homestuck has historically treated mentally ill characters with. Nearly all the kids in Homestuck have suffered incomprehensible levels of mental and physical abuse, and the text expects them to simply overcome it sheerly by force of will. Sure, Jake is miserable but it’s his own fault, the text seems to say; if he’d just get his act together, like Dave, maybe he could get on with his life without being mind-broken by Dirk, or raped and whipped by Jane.

This isn’t even to delve into the flagship reveal of Homestuck 2, that Rose and Jade in the Candy Timeline have not only had a daughter of their own (without telling Kanaya), but that furthermore they have replicated their own trauma in her. Rose and Jade’s daughter has grown up completely emotionally alone, in the care of her Moms’ archenemy.

The point in all of this is not that the Epilogues have made everyone behave out of character or anything like that - I think it’s clear after a re-read especially that all of this is a conceivable direction that these characters could have taken. Rather, the Epilogues reliably choose to believe the worst of the characters of Homestuck in terms of their writing decisions. Everyone always makes the worst decision that they could make, or at the very least, nearly the worst. And because of the identification of reader and character, we can’t help but take away from that a sense that this is what the authors think of us as well.

And in case it wasn’t stated explicitly enough, a running theme throughout the Epilogues is that all this conflict and badness taking place is, to some extent or another, because we the audience are looking at it. As Andrew stated in relation to the Epilogues, there’s a kind of Happily Ever After possibility bubble around the characters that intrinsically collapses into conflict the moment we observe the events again - in other words, by participating in a story, we the audience members are somehow complicit in the characters’ suffering. Yet not all stories must be driven by conflict - and who triumphs and who fails in that conflict says a lot about what a story has to say about real life.

The Epilogues engage in a kind of voyeuristic cruelty, a kind of pessimism and cynicism, a kind of relentless ugliness that I have seldom seen, and to what end? The whole thing seems to me an attack on the audience.

Aside from general, abstracted claims toward authorial intent (which I think is there), I also want to say that, I can’t emotionally engage with the Epilogues, for a personal reason; as somebody who has struggled with almost daily suicidal ideation for most of my adult life, the way that the Epilogues deal with that subject goes from troubling to malicious and hostile in its treatment of Dirk’s suicide.

And staying personal, while I haven’t had to deal with some of the other sensitive topics that the Epilogues handle recklessly, handle them recklessly they do - Jake is serially raped by Jane, and in a way that he serves as a vehicle to move the plot forward, rather than with any kind of compassion for Jake’s condition. The possibility that Tavros Crocker might be being molested by Gamzee is brought up flippantly in one scene and played off as a joke.

The Homestuck Epilogues play at maturity through handling dark themes and sensitive topics, and reveal a profound immaturity in their authors because of the ways in which they are cruelly, insensitively handled over and over again.

I guess I’ll close with the least egregious thing. The Homestuck Epilogues just aren’t funny. Even at its bleakest, Homestuck has always been funny. In their relentless pursuit of cruelty, and the shared misery of their audience and characters, the Homestuck Epilogues forgo even this most basic element of Homestuck, which Andrew has always described as being basically a comedy.

Anyway; I will not be doing a thorough analysis of the Epilogues. I hate them too much and they suck.

[ghostreader16]

OH MY FRICKIN GODS! THIS IS AMAZING!! (has been reading it religiously everyday)

I love the inakuni elementary days lore and the whole "One doesn't become a leader because he was deserving. One becomes a leader because of the circumstances and deserves it afterwards." !!! it hit hard ngl

And Michinari just lacking charisma but having good judgement is such a good idea to explore for someone who has to be captain. He makes good decisions and observations but he won't be the first one anyone looks at. he has to literally move the attention to himself because hes not like asuto, who attracts people naturally, or goujin, who is goujin. not having charisma hit his self-esteem like a bullet train.

tbh michinari was one of the characters i found interesting since his interaction with his dad. he seems like one of the richer kids in the island since he looks like he lives on the more town-ey part and his dad looks like a business man. he also said smth about worrying about how his mother will react and his father saying that he'll deal with her and that michinari should just go. his mother seems more strict than his dad and they kinda seem distant. i just thought that was interesting. but apart from that, bland man. he gives off big brother vibes tho. but totally wasted. i wanted to see him develop the dance moves with the other one, cause his hissatsu just screamed rich classy person. probably got forced into tango class as a kid.

i like how we both have the idea that everyone just cares for asuto. hes like the only one whos canonically an orphan in inakuni.

oh gods this backstory gives potential for a convo between michinari and asuto, michinari confronting the fact that he'll never pull in people naturally like asuto and that he'll have to work to get the spotlight on him but he'll do his best. and asuto has to deal with the fact that he missed out on so much growing up. (but im saving most of asuto's past reveal in orion, planning to push him to the limit and give him a slight air of mystery or smth to flip the audience's expectations about him).

Oh yeah, as for ichihoshi and asuto. funny thing cause i got an idea from a comic i saw in pinterest where ichihoshi compares asuto to his brother, and i remember a scene where ichihoshi's brother calls him "his light" cause ichihoshi is naturally observant and guides him. so in the comic, he became dependent on asuto in a way, he needs to be someone's light again, so he's projecting his brother's image onto asuto. which is interesting cause putting this in the context in which asuto acts unnaturally more mature for someone his age, it makes sense for ichihoshi to get attached to him. the comic ends in asuto yelling at ichihoshi trying to convince him that he doesnt need to be anyones light to be worth smth.

And funny connection, ichi means one/single and hoshi means star, and asuto has sun symbolism. the sun is actually a star.

And as for Hiroto and Asuto, its just the whole kid without a good parental figure meets kid whos forced to be a parental figure for himself. it would be an interesting dynamic to see.

And Hiroto has so much potential !! what do u mean he suffered from the lack of expectations, what do u mean another orphan received more attention (expectations) than him, what do u mean- im losing brain cells fast but i swear i have more to say for this man.

Also him being so alike with Haizaki. that too.

What are you cooking ?

[desperately trying to put out the flames in the kitchen]

I'm glad you asked, my dear friend.

Inakuni Members potential backstories

Asuto's potential relationships as a kid who was forced to think like an adult at a young age and as someone's "Light"

ASUTO HIMSELF

Nishikage & Nosaka's relationship

Hiroto and Asuto's relationship

Ichihoshi and Asuto's relationship

The Ares situation and How much potential it has

All these are ingredients freshly bought from the market [thumbs up]

[miraculouscontent]

Askplosion #12 3/4:

.:Asks Referring to Previous non-Miraculous Posts:.

Anonymous said:

Hi! I saw you mention that you have Asperger’s syndrome in an earlier post. I’m just wondering, how did you find out? I’ve always thought I was neurodivergent (adhd and maybe asperger’s), but I’m not quite sure how to go about finding out, and my parents never had me screened as a kid. Feel free to ignore if this is too personal!

(the post this anon is referring to)

It’s not too personal, don’t worry!

Though, I would really say that it’s something to look up more than for someone to tell you. I know that’s not a satisfying answer but I think it’s different depending on where you live and what specialists you have near you.

Anonymous said:

Remarried Empress Anon Again, a whole post? What an honor! I burnt my food and this made me so happy.

(the post this anon is referring to)

You deserve it! Thanks a bunch!

Anonymous said:

Remarried Empress Anon Again, thank you for answering my asks and for reading Remarried Empress! I honestly didn’t expect much to come of it but the fact you read the comic and saw what I was talking and came to your own conclusions was amazing! I’m sorry if I’m bothering you by bombarding you with asks, and will try to stop doing so. Heck, this doesn’t have to be answered! Just know you are a fun creator and thank you for making my day a little better with your amazing responses!

You weren’t bothering me at all! I’m glad I brightened your day!

asexual-individual said:

I don't know how big the trend of "Magical Girls are made to suffer" is, but after watching Madoka Magica I did notice a few Magical Girl shows where the creators obviously went "Hey, this anime where the Magical Girls suffer and it's all angsty made Shaft a lot of money, let's do our own", and "subversive=money". (Even though many have pointed out that MM isn't actually subversive, since older MG shows have dealt with dark themes plenty of times.)

Yeah, it’s probably one of those inevitable things. People immediately jump on wherever the money’s going.

Madoka Magica probably got so much attention specifically because of the episode three shock value.and all the twisted imagery, plus things like Kyubey with bullet holes all over him made it seem like, “WHOA, DARK.”

Anonymous said:

Remember when I told you about the teenage-bashing in the Star Vs. Fandom? Well, rewatching the show, I'm beginning to think that most of the time, when people in a certain fandom have these opinions, more often than not, the show backs it up for whatever reason. Like, there's one scene where Eclipsa is put on trial and is asked if she's ever eaten any babies(which is just a rumor), and she says no but that she has eaten a few teenagers but, psychologically, they always deserved it.

And in another episode, Star says that teenagers are great at causing problems, which I at first laughed off as a joke, but then in another, Tom and Star were talking about how they broke up, and Star said "Of course we broke up! That's what people do! That's what teenagers do! Teenagers are dumb!" And Tom was just like "Yeah, I know, I know"; there are a lot more examples but I don't care to revisit them. I'm just saying that the teen-hating in the fandom would have to have come from somewhere.

omg I don’t remember that stuff at all; I guess it just blew right past me when I was initially watching it.

I don’t understand the trend of being like, “teenagers are dumb and that’s what they do,” and then either over-punishing or not punishing at all. Are we supposed to believe that all teenagers are just going to “be teenagers” and so we shouldn’t do anything, or that they’re all idiots who don’t understand their own feelings but we should also punish them for it?

I don’t get it.

Anonymous said:

I'm the "tomboys in anime" anon, and yes, I totally agree! It especially irks me(as a girly girl who has a lot to say) when the shortcut to making a girl tomboyish is simply by making her loud/tough/like gaming or machinery, or when a female character is told she isn't enough of a girl because she's like that, but otherwise doesn't look or even act all that "boyish". Even TV Tropes does it, as if the second a girl shows any proactivity or is tough she's a "tomboy".

It really annoys me and almost makes me want to erase the term "tomboy" altogether since it leads to an idea of "I'm not like other girls, I'm better 'cause I do boy stuff"(which I know not every tomboy thinks, but some do). The only reason I don't is because I very proudly embrace the term "girly girl" and terms are meaningless without an opposite(not that you can't like both girly and tomboyish things). So I think the key to fixing this problem is that we shouldn't label people unless they want to be labeled that way.

And I know fictional characters can't speak for themselves, so just to figure out if a female character is a tomboy, I just say that if her only "tomboyish" traits are "proactive" qualities or liking something that's for guys, just don't call them a tomboy because it looks ridiculous and acts like women are inherently passive and weak, so for a girl not to be like that is acting like a man.

I would love to see a tomboy character who likes those things but is actually shy/a wallflower. That avoids the stereotype of "aggressive, hard-hitting tomboy, weak-willed, shallow girly girl" and challenges audiences expectations that "but but but she's a tomboy so she should be loud and strong because strength is for MEN". I also hate when tomboy characters are given no curves because the writers know they're doing something wrong, tomboys can have natural curves too. It's like they think tomboys just don't want to be girls. So, yeah. So over the "tomboy in-name-only" stereotype.

"it makes me feel weird saying that when I’m all for girl power shows with an all female cast, but in this show’s logic, it’s a different ball game". Oh, phew! That's good. Because, like I said before, I'm working on my own magical girl show in which most of the female characters are(black) girls and only girls can use magic in this world, and someone I know keeps telling me that it's not fair that the guys don't get to have magic, so it's good to know that there's someone out there who doesn't think it's "sexist" that magical girls tend to only let girls have powers(unless it's for fanservice or like in Madoka Magica because ick). Because guys get to be in the forefront all too often, so why is it so bad when girls get to be in the spotlight? I know I can't change everyone's opinions but it's good to know someone gets it.

(the post this anon is referring to)

Honestly, I feel like the fact that there’s a label at all is the issue, like you suggested? It might just be a “we have to get ride of the label ‘tomboy’ and ‘girly girl’ altogether” thing, because it’s not like we do the same thing with guys?

Oh wait, we do; guys who do “girly” things are called “sissies.”

I hate this planet. :P

Point being, having to say “tomboy” inherently implies something, which might be a problem all on its own, y’know?

(the below ask is incomplete but the asker clarified after I asked them, so clarification is below:)

Anonymous said:

I just thought back to our little "tomboys in anime" argument and about how you can't really think of any tomboys. So I looked up "tomboys in anime" on Google and clicked on the first link, and literally the first character on the list was a girl with...a flower in her hair and a bikini. The reason she was a "tomboy" according to the list? Was because she is "aggressive" and "competitive". In fact, most of the examples on the list were "she's tough/a good fighter/challenges male supremacy".

(part of this ask is missing and clarified below)

girly girls, while the girly girls always have to be the weak and shy ones(not that shy=weak but you get the idea). But while I may not know most of the characters on the list, and some of them DID look pretty tomboyish, I'm very bothered by the idea that it's their strength and ambition and excellent fighting skills that are branded as masculine. And you know what? I'd actually be offended if someone called me a tomboy, especially if it was based of these reasonings. Because it sounds like they think being a tomboy is the only way to be strong and vice versa. Like I should take it as a compliment that I need to be separated from my femininity in order to be respected. Like, if you're a tomboy, cool! But it shouldn't be used for just any girl who isn't a weak-willed crybaby doormat. I actually don't know why people seem to think being a tomboy or "masculine" for a girl is some sort of badge of honor to wear with pride for rejecting your femininity and being "cooler" than other girls.

the clarification:

Anonymous said:

The missing part was talking about the various tropes having to do with contrasting masculinity/femininity, either in two different characters, with one being masculine and one being feminine(ex. Tomboy and Girly Girl, Sensitive Guy and Manly Man, Masculine Girl, Feminine Boy, Masculine-Feminine Gay Couple), or one character who has traits of both(ex. Girly Girl With a Tomboy Streak, Tomboy With a Girly Streak, Real Men Wear Pink), and how TV Tropes always talks about them as if the "girly" character(or girly side of the character) is weaker or inferior(like how for Tomboy and Girly Girl they might say that the former is tough, competitive, and can fight, while the latter is vain, a priss, and a Damsel in Distress.

Or for Tomboy With a Girly Streak, they might say that the tomboy dresses in a masculine way with their "girly" streak being that they're a doormat or dream of being a housewife. Not that it's wrong to be a housewife.).

To be fair, they don't always do this: For the pages on Magical Girl they talk about how those shows can appeal to multiple demographics, and almost all the quotes on them, they talk about how they're empowered through their femininity and are just as much legitimate threats to their opponents as other heroes. Still, they fall in this trap even then, as on the LoliRock Awesome page, they say "You gotta admit, for a Magical Girl show, LoliRock does have its awesome moments", which ignores that Magical Girl is SUPPOSED to have awesome moments, it's literally an action subgenre! Just because it's frilly and pink and girly doesn't mean it doesn't--or shouldn't--still have badass fight scenes. Just look at PreCure. Shonen should take notes from those shows. But no, whoever wrote that clearly dismissed it as just frivolous and was SURPRISED that the fight scenes were good, just because it's girly!

It’s 2021 and people are still struggling with this concept that girliness isn’t bad and it’s not embarrassing to watch such a show.because GIRLS.

It’s so tiring. I watched Dragonball Z, Inuyasha, and played Pokemon; got a few looks about it at times but people ultimately were like, “okay I guess” (I did get bullied for the Pokemon one but that was more for the “it’s for babies” kind of deal, not a “you can’t like that because you’re a girl,” thing). I can’t really relate to the world of girls who get looked down upon for being “girly” but that doesn’t mean I don’t understand that it must be awful for them.

Don’t even get me started on “Tomboy Lesbian,” I will scream about it and it won’t be happy screaming.

[saijspellhart]

Things I binged recently:

(Still coping with grief and depression, and one of the ways I tend to do that is just to distract myself from it all with Netflix. Here are some things I watched or tried watching. And my thoughts on them.)

The Office: Hated this show. Which was a shame because I really really enjoyed Parks and Rec, and these shows are supposed to be similar in style. Unfortunately this show is cynical, mean, and pessimistic. Characters get away with being outright racist, sexist, and antagonistic. Are unapologetic about their hurtful actions, and it sickens me. I was told season one was bad, and to watch season two, and I did. And even season two was awful. And I shouldn’t have to slog through three seasons of a show before it gets to a point where it’s like-able and good. If it takes you three seasons to figure it out, then no thanks. That’s a lot of show I have to suffer through before I MIGHT get to something I enjoy. I loved Parks and Rec because the characters loved and cared about each other, had genuine friendships, aspirations, and optimism. They strived to better the world around them, despite many mishaps and obstacles along the way. Parks and Rec was uplifting and sincere, where The Office is cynical and mean. 1/10.

A Whisker Away: Good, although I found the romance between the main character and her crush to be insincere and weak. I think the message of love would have been stronger if the best friend ended up being the one going to rescue her in the end. It never felt like the boy actually had feelings for her, just a begrudging respect and budding friendship. And it felt like his feelings were guilted and coerced by her actions to run away in the end. Like, “shit, I messed up and she ran away from home. Better tell her I love her, so she comes back home.” I understand that wasn’t what they were trying to do in this film, but it’s how the relationship came across. Manipulative. Especially since most of it was one sided, with her spying on his life as a cat. The love someone has for a pet does not equate romantic affection. Excellent movie for the heavy themes, Magic, and story, just think the overall message and relationships should have been overhauled, and worked around. I think the love the main character’s best friend had for her was more pure and powerful that the one-sided obsessive crush she had on the boy. 6/10.

Brand New Animal: Great show. Both my husband and I loved it. And were gushing about it even after we finished it. My only critique is all the heavy handed exposition. It felt clunky, ham-handed, and unnatural. I think with a few more episodes to the show they might have been able to parse out that exposition and find more natural ways to feed the audience that information, rather than huge unsolicited info dumps on the Main Character. Especially since half the time she didn’t earn that info, didn’t need it, didn’t ask, and just plain shouldn’t have been told some of it. Like why would you just spit classified secret information out to a character you know can’t keep secrets, or even follow directions?? Aside from that, solid characters, solid friendships, cute story, lots of interesting events, and just a blast from start to finish. Would highly recommend it to anyone. If you like Zootopia or Beastars, you’ll probably enjoy this too. 8/10.

Japan Sinks 2020: I. LOVED. THIS. SHOW. Omg, it had me on the edge of my seat the entire time. I just couldn’t stop watching. It’s in the disaster movie genre. Like Volcano, Dante’s Peak, or The Day After Tomorrow. That “what if this catastrophic natural disaster occurred,” and you follow this group of survivors as they work together to stay alive. And damnit if I wasn’t emotionally invested in every single one of them. I wanted to see them survive, and see how they made it through. I wasn’t sure if I was gonna be able to connect as strongly with their struggle given that it was animated rather than live action. But that didn’t matter at all. The tone is serious, and everything is given the weight and consideration it deserves. The animation style has a realistic tone to it, and the fact that it was an anime never got in the way of the journey and the emotions and the intensity for a second. I felt ALL of it. 10/10.

Unsolved Mysteries Netflix (documentary): I’m a slut for documentaries, all kinds of documentaries. So it’s no surprise I watched this. If you like unsatisfying true stories then this is it. A whole season of unsolved crimes. You get all the information wrapped up and handed to you in a neat little interesting package, and are left to just gnaw on it wondering who did it, and if they’ll ever solve it. One of the episodes isn’t a crime though, it’s a UFO story, which was a weird change of pace and tone from the rest of the season. Still creepy, but in a different way. I liked it, but it can be frustrating when you want answers. It gets an 7/10 because I wanted answers.

Kipo and the Age of the Wonderbeasts: I could watch this show over and over again. My husband and I were foaming at the mouth waiting for season 2, and when it finally released, we gobbled it up and then watched it again right after. Excellent show. Post-Apocalyptic story, where the surface of the earth is overrun with mutant animals, and humans are living underground in “burrows.” The main character Kipo gets separated from her people and stranded on the surface, and has to find a way home. Along the way she makes some human friends, and mutant friends, and connects with people through music. And even learns some deep dark secrets about her Mom and Dad, and even herself. It’s a beautiful story emotionally, but also an exciting adventure. I love it. 10/10.

Eurovision, the Story of Fire Saga: Good. Which is saying something because I’m not a fan of Will Ferrell and he plays one of the main characters in this movie. I enjoyed the movie, and it made me laugh. Which was another surprise because I’m a cold-hearted bitch when it comes to comedy, and most things don’t make me laugh. So when a comedy works for me it’s a surprise. And this comedy worked in places. Not ALL places, but it did get some chuckles and a laugh or two. And I did enjoy the story it told. The movie is about two friends who are musicians/singers that enter singing/performance contest, and the drama that ensues along the way. It’s a cute underdog story. 6/10.

Floor is Lava (game show): The name of the game says it all. Groups of three contestants must navigate rooms using only furniture, and chandeliers, and shit. They can’t touch the floor because the room is flooded with hot orange koolaid. And if they fall in they “die.” Prepare to watch grown ass adults hop, hobble, and flop over furniture, tables, and other obstacles, as they try to get from one side of a room to the other side without falling into the koolaid. It’s exciting, and fun, and although the commentary is awful, the struggle of the contestants more than makes up for it. 8/10.

Splice: Never seen this movie before. Thought I’d give it a try since it just showed up on Netflix. It’s... odd. I’m having a hard time deciding if I loved or hated it. It’s an interesting look into what could happen should we start experimenting with human DNA and other sentient life. And how that could go all kinds of wrong very quickly. I like horror, and this delivered on some of the horror elements, but mostly it just jabs you over and over again with moral dilemmas. And you end up feeling like all the characters in the movie majorly failed each other, and they were all the bad guys. I’ll give it a 5/10 because I’m conflicted whether I liked it or not. But it was worth seeing once.

Ju-on Origins: I’ve seen a couple of the Grudge movies, which is the Americanized version of this horror franchise. But I’ve never seen any of the Ju-on movies. So it was a new experience watching this. It’s non-linear storytelling can be challenging to follow, but the stories it’s telling are fascinating and unnerving. I had to watch it with the shitty English dub because my attention span is too short for subtitles. And this wasn’t just a single movie, it’s a show with an entire first season. Episode 4 was definitely where shit hit the fan, and things got really scary. But I like slow burn horror, so I enjoyed the build up of the previous three episodes, and how they just carefully built on the apprehension and dread until things really got scary in the fourth episode. After that the rest of the show is just a roller coaster of highs and lulls, that leave you wondering where the series is gonna go in season 2. Definitely my favorite installment in the Grudge/Ju-on franchise that I’ve seen so far. And it’s got me curious to check out the other Ju-on movies. 8/10.

The Girl with all the Gifts: I’m a sucker for zombie movies and this was a unique and refreshing take on them. The idea is that the zombie outbreak is caused by a strain of the Cordyceps fungus that ends up infecting humans. And the surviving humans are using children born from infected mothers to try and find a cure for the outbreak. The children are like this functioning hybrid of fungus and human, and not completely lost like the humans who were directly infected. The movie explores the moral dilemma of how the children are treated, and the further of humans. I enjoyed the movie, and the concepts. It was a great addition to the zombie franchise. Would recommend. 7/10.

Abducted in Plain Sight (documentary): another crime documentary. This one dealt with a kidnapper/pedophile who managed to kidnap the same girl twice, and the lasting trauma his actions had on that girl. It was sad, and heartbreaking, and horrifying. If you like crime documentaries and have a steely stomach, check this one out. I won’t give it a rating because it deals with real life stuff and children and it’s not a show.

Evil Genius (documentary): one last documentary on this list. I was on a crime documentary spree. Usually I like animal documentaries. This one was about a couple who masterminded a bank heist by attaching a collar bomb to a man and sending him on a wild goose chase scavenger hunt. There’s also a case about a corpse in a freezer, and how the two cases are connected. It’s absolutely bonkers. Just wow. It’s four episodes long, a mini-series, but just an interesting experience. I mostly watched/listened to this while slowly chipping away at a commission. If you like crime documentaries it’s worth a watch. I give this one a 6/10 because I won’t be watching it a second time, but also because I think the format and how they explained everything was kinda long winded.

[thelittlehansy]

How many things Hans share with domestic abusers ?

I just cant count the number time i read that hans remind them of their toxic abusive ex. Hans has already be link to "domestic abuser " in fanfic.  in some modern AU fanfic  i read Hans beats anna because you know...he is the villain. I also saw that there was some fanfic where Hans rapes anna and elsa 🤢 because you know....he didnt even kiss anna but he would totally do it because yeah....he is the villain.

And just people imagine the worst about what if hans succeed into marrying anna.  So lets back to one of my favorite things.

List 🤓🤓

This times how many signs hans share with abuser in the movie ? i took an article on the web about the subject.

1-CHARMING.

“Initially, he showers his woman with praise, adoration, and attention. His courtship is sweet and intense filled with phrases such as, “I can’t live without you.” He quickly pushes for an exclusive relationship or engagement.”

Yes he is charming ! There was love at first sight this is  very much possible hans said things describe above maybe he even means some of them because again...that scene when he is alone smile smitten  by anna under the boat. The only difference is that there was specific reasons about the fact that he ask quickly Anna to marry him he didn't have times the gates were going to be closed and he could said goodbye to his key to the throne this is why he propose so fast to anna. So the comparison with abusive relationship and what is describe above dont seems really honest as they was an explication to his behavior if he could have times to seduce her during a long time ,  he would have done it  i think (?) one the thing we know about him is that he is a very very patient person.

2. JEALOUS.

“He views other men as a threat to the relationship and accuses you of flirting with everyone from his brother to the mailman. “I know you are looking at him.” The irony is that he often is the one who is cheating.”

Behavior never show in the movie we dont know how he would have reacted to kristoff presence. when his show his "true colors" hans show us that he dont cares about anna and that   she is last of his worries.

X

3. MANIPULATIVE.

“This man is very intelligent. He knows how to detect your weak spots, and he uses your vulnerability and past pain to his advantage. “You were abused as a kid because you are so ugly.”

He never said such an horrible thing like what is described above but...he is smart he us manipulative he did use others people vulnerability ! So very much positive !

but again there is still these problem  about hans being manipulative ? ..who put totally in question hans manipulation in the movie toward anna and seriously put doubt about how much he actually manipulate anna.

 His smitten smile when she left also present in kids book who tell “ hans is smitten by the princess”  the fact that anna called him lunatic and not a liar in the book a  frozen of shadow. and hims admitted he did not manipulate her at all in a frozen heart

4. CONTROLLING.

He wants to know where you are going and who you are with at all times. He may check the mileage on your car or follow you to the grocery store. He often refuses to allow you to work because you might “meet someone.”

Behavior never show in the movie again once hans reveal his true colors he show us that he dont give a damn about anna.

X

5. A VICTIM.

“His poor choices are everyone else’s fault. When he loses his job, gets into a fight, or a business deal falls through, it’s always because of the other person. He is never at fault. “You make me hit you.””

Behavior never show in the movie when he reveal his true colors we dont know.

X

6. NARCISSISTIC.

“The whole world revolves around him. As the “little woman who is beneath him,” it is your job to meet his every need. He is the master; you are the unworthy slave. It’s invigorating for him to know that everyone around him “walks on eggshells.””

Behavior never show in the movie with anna or with the others people  also we dont know.

X

7. INCONSISTENT.

“Mood swings are a common trait for an abuser. One minute he seems happy and sweet, the next he is pounding his fist.”

Honestly i will not say behavior not show in the movie but more contradictory behavior hans really knows how to stay calm , tolerate frustration and Someone like that would have never succeeded  to did what hans did. I think He will act more like the duke of weselton if he had mood swings.

X

8. CRITICAL.

“No matter how hard you try you will never be able to satisfy this kind of man. He thinks nothing of degrading and verbally assaulting you. “You are a stupid, fat, disgusting tramp. You can never leave me. No other man would have you.””

Behavior not show in the movie at all.we dont know if we cant satisfy hans or if he degrade others people and verbally assault them. Then  again he left anna at the end he didnt tell her "no man expect me would want you" but the contrary he break her heart and leave her.

he said to anna that she was desperate for love and was willing to marry him just like that which was true and also an opinion shared by both Kristoff and Elsa and the audience.

the part when he said “you are not a match for elsa” he was responding to anna.

So thats left us with only one thing the “ oh anna if only there was someone out there who loved you”. and trying to deduce that from  this line Hans will said to anna the kind of stuff describe above is....extremely exaggerated. Behavior not show in the movie

not enough evidence.

X

9. DISCONNECTED.

His main goal is to isolate his victim from family and friends so that you are totally dependant on him. “Your family causes too much trouble for us. I don’t want you seeing them anymore.”

Again behavior not show in the movie he never tried to isolated anna when he show his true colors hans dont give a damn about anna anymore. Even the argument between the sisters was not intentional on his part anna arguing with elsa was far from being his goal since him what he wanted was elsa benediction and anna behavior was the last thing that he needed and just the fact that he wants to kill elsa as we all know is in order to be king not to isolated anna from her family. 

X

10. HYPERSENSITIVE.

The slightest offense sends him ranting. Everyone is out to “get him.”

Behavior never show in the movie  there was the moment with the duke of weselton  but the duke was not even criticized Hans but anna and Hans reaction was to assure his plan.

so we only have hans responding to anna that not this is her that is a not a match for elsa during his betrayal scene. So again based yourself on that and deduce “omg he is hypersensitive” is...exaggerated. We need more evidence. So in the end we just dont know again !

X

11. VICIOUS AND CRUEL.

A significant number of abusers harm children and animals as well as a partner. Inflicting pain and intimidating others is what gives him power. “I’ll kill you before I’ll let you go. If I can’t have you, no one will.”

Behavior not show in the movie he is able to show kindness to animals as he show it with Anna horse. We dont know about hans relationship with children and his whole relationship with animals. 

X

12. INSINCERELY REPENTANT.

He will swear to never “hit you again.” But unless he receives professional help and strong accountability it’s very unlikely that he will change.

Behavior never show in the movie the betrayal scene.

X

IN CONCLUSION : , we dont know. we just dont know if Hans had a behavior similar to domestic abuser with their girlfriend/spouse and if Anna would end up in a abusive relationship with him. 

honestly (that’s  only my opinion ) but judging by his behavior in the movie , his plans , his desire i think Hans would not have been an abusive Husband but an Absent Husband only interest by his job and not his queen since the start even if he liked Anna at some point his big dream to be king is what is the most important to him.

So  again  the only thing he has in common with domestic abuser is that he is manipulative but even that...hans manipulation on anna...is put in question everywhere in the beginning of the movie...books...vidéo games where it say he has a crush on her.All of the rest we just dont know or he saw contradictory behavior.

Hans never show us to be jealous , controlling, possessive, physically abusive , oversensitive , blame others and play the victim , oR inconsistent.  and even based on the movie we just cant affirm that hans is someone that verbally insult person since he never show that behavior again in the movie.

So hans acting like a domestic abuser is as true as a headcanon for someone who will like the idea of him being one. 

We just dont know how would have been his marriage with anna. All of this assumptions about hans characters to me really as based on the fact that we compare abusing someone and someone trust and put them in the same case.  This is not any better but this is believe  are two very different things. 

 i also have read lot of time woman said " hans was nice to anna and then show his true colors" then they compare that to abusive domestic relationship. But the thing is that an abuser once he show you his true colors he began to be controlling, jealous, physical abusive , emotionally abusive. Hans once he show his true colors. he leave anna he abandon her the comparaison is not very great here since in the end Anna yes would have trust issues but did not  suffer of abusive relationship victims suffer. 

We also learn think about Hans in his backstory in the frozen Franchise so yeah we dont have confirmation this is canon to the movie but this is very much canon to the frozen franchise and officially publish and approve by disney : He was not an abusive child.  he never abuse people on the contrary he was abuse by his father and brothers both physically and emotionally.  (the majority of people dont reproduce this behavior once adult but reject it) he Hates violence and is someone peaceful. He is not controlling over person but situation. He has all his life being bully because he is not cruel  and hates his father view on social darwinism and how he treat their citizens. He is used to criticized and be called a disappointment. He also dont play the victim. again the only thing confirm by his backstory is that he can be manipulative.

so i m gonna finish that post with that gif who show us that Anna is not scared of Hans. something again that rarely or just  dont have in domestic abusive relationship in real life.

[ask-de-writer]

SEA DRAGON’S GIFT : Part 75 of 83 : World of Sea

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SEA DRAGON’S GIFT

Part 75 of 83

by

De Writer (Glen Ten-Eyck)

140406 words

copyright 2020

written 2007

All rights reserved.

Reproduction in any form, physical, electronic or digital is prohibited without the express consent of the author.

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Copyright fair use rules for Tumblr users

Users   of Tumblr.com are specifically granted the following rights.  They may   reblog the story provided that all author and copyright information   remains intact.  They may use the characters or original characters in   my settings for fan fiction, fan art works, cosplay, or fan musical   compositions.

All sorts of fan art, cosplay, music or fiction is actively encouraged.

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New to the story?  Read from the beginning.  PART 1 is here

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Sarfin now looked as if the bundle of parchment had exploded.  The Council witness was outraged.  Blind Mecat was looking sightlessly sideways at Dark Iren and both were sporting Dragon grins, full of amusement and fangs.

Sarfin sourly agreed, “You have made your point.  This is the wrong Court for the matter of the counterfeiting.  Your proposal has merit and will be adopted after examination of the ships books.”

Kurin held out more parchments from the pile in front of her.  “Here. This is a fully referenced abstract.  It cites the Grandalor’s books by volume, page and line.  It will make the search much easier.”

This batch of parchment was gratefully accepted by the Judge, who was beginning to feel that things were out of his control.

“Now,” said Sarfin darkly, even angrily, we come to the admitted matter of slavery.  You stipulated that the Grandalor has violated the First Great Law, and sold victims into servitude.”

“I said no such thing, your Honor,” said Kurin politely.  “I said that they sold indentures to the Arrakan fleet.”

“It’s the same thing,” retorted Sarfin.

“Tis nae!” exploded Tanlin angrily.  “Do Oi look a slave?  Oi sold m’ indenture six times t’ earn m’ Master’s Certificate!  Oi made enough t’ buy a share o’ t’e Princimorn as well!”  More calmly, she explained, “Indenture, w’ich’s for a term fixed by contract, is t’e ‘eart o’ t’e Arrakan educational system. Each ship ‘as t’e duty t’ teach t’e young fry t’ read, write an’ figure.  After t’at, t’e youngsters decide w’at t’ey wont t’ do an’ sell t’eir indentures t’ learn.  T’e Master gets t’e person for a set term, paid in full at t’e start. T’e student gets room, board, payment for ‘is service an’ instruction in t’e art.  T’ere’s nae slavery.  W’at Barad did wa’ dune in Arrakan Water an’ legal t’ere.  T’e T’ird Groit Law, about respecting t’e law and customs o’ ot’er fleets in t’eir ane woters is all t’e defense Barad needs.”

“And the money from these sales that Barad made?” asked Captain Farrol with a skeptically raised eyebrow.

“Strictly regulated by Arrakan Law,” Kurin answered.  “A maximum of ten percent of the sale, after deducting specific documented costs of training, is available to the broker.  The balance must be paid to the student and to no other person whatsoever.”

“So,” asked Urson, “where does the Grandalor come up with these,” she spat the word, “indentures?  Violation of the Marriage Laws?”

Kurin looked at her with such pity that Captain Urson felt like crawling out a scupper.  “A friend of mine once said that if you want to ask a question, you should allow it to be answered, not answer it yourself.”  She turned to Barad.  “Sir, would you be so good as to explain to them where you got the students for your trade?”

Barad got slowly to his feet.  “Captain Urson, you in particular should know where my students come from.  Seven came from your ship alone. They chafed under your hard style of Captaincy and became trouble makers.  You put them off and they would have drowned had I not taken them in.  One is a lead deck-hand and content.  Another became a Master boat-builder.  A further one is a sail lofter.  The others are a bosun, Second Officer, First Officer and a Captain.  And you just threw them away.”

Barad put hands on hips and angrily surveyed the Court.  “I took men and women in when you found them inconvenient.  Easier to let them drown. You never investigated when they ‘disappeared’ because they were already condemned.  Now, you play at outrage.  Your mistakes live and prosper in the neighboring Arrakan fleet.  That is why the Arrakan trade has dropped off to nearly nothing.  They know you and your ways.”

He turned and faced Sarfin.  “Sir, of the whole Naral fleet, only your ship has never given me a student.  The only other ship like that is the Longin, and we did, to our regret, take on Silor Elon.”  

Kurin reached up and took Barad’s sleeve.  “We will tell that in it’s proper context.  Thank you for the clear explanation of where your students came from.”  

Barad looked down at her and smiled.  Then he sat.  

Sarfin looked like he could use one of Doctor Corin’s stomach cures.  “So, the indenture trade as conducted, is completely legal.  It has been the means of saving a fair number of lives into the bargain.

“Now, we must address the Charges, as they and the stipulated ramming are connected.”  Sarfin just looked tired and sad now.

“How do you plead to the First Charge.  Murder and attempted murder?”

Kurin stood before Sarfin, hands behind her back, the breeze ruffling her white hair.  “Captain Sarfin, we plead not guilty,” she said firmly.

“Kurin, we know that the plot to kill you, which miscarried and slew Garfin Halin Grython originated on the Grandalor.  At the highest levels, too,” Sarfin reminded her.

In genuine outrage, Kurin demanded, “What?  Is the Judge the prosecutor now?  Where is there justice in such a hearing?”

Sarfin actually cringed just a bit.  Then he said, “I must apologize.  You are correct.  The case against the Grandalor and her officers and crew to be determined will be presented by Council prosecutor, Captain Farrol.”  He smiled a little and added, “I will try to keep an open mind.  Captain Sula will assist me in that effort.  It was she who brought the fleet’s attention to the violation of the Grandalor’s rights and then made possible this expedition to restore those rights.”

Kurin immediately calmed herself.  “I apologize for my outburst, your Honor.  I have known you for a long time and am well aware that you have earned your nickname ‘the wise.’  All that I ask, for my clients and friends is that you set aside what you believe that you know and hear the case on its merits.  It is far different than even I believed, and I was a victim of the crimes involved.  If I believed that I were representing the criminals, I could not be here before you.”

That caused a small uproar among the audience.  Kurin could easily hear the words ‘young and gullible’ among others.  Her cheeks burned with the embarrassment of anger.  She did not consider herself gullible.

Sarfin regarded Kurin thoughtfully and nodded acceptance of her statement. Turning to Captain Farrol he asked, “Are you ready to proceed with the case against the Grandalor?”

“I am, your Honor,” he replied.  “The essence of the case is simple and the evidence compelling.

“About seven or eight Wohans ago, the Grandalor began to search for an Ord. Captain Barad, all of his officers and many of his crew participated in this search.  They finally obtained the deadly thing from the Dolthin.

“Ostensibly, the Ord was to be used for experiments in fishing.  The idea presented was to try to find a way to make it safe to catch large predator fish like Strong Skin, Wing Ray and Hag.  This was a transparent ruse.

“The real goal was murder.  Master Selked made a deadly awl out of one of the Ord’s spines.  The death-dealing awl was hidden in a kit of sail stitching tools.

“The target of the plot was none other than Kurin herself, who now defends the culprits!”  He pointed dramatically but his gesture was spoiled by Kurin yawning lightly behind her hand.

“Is that all?” she asked quietly.  “Garfin, I know, died of mishandling the awl because he didn’t know what it was.  That does make his death murder, of course.

“Do you have the sewing kit for evidence?”

Irritated that Kurin was being so direct, and stealing his thunder, Captain Farrol, said, “Of course.  It is right here.”  Donning a pair of gloves, he produced the box, once neat, now marred by the ugly green of Red Weed test paste, showing how far the contamination had spread.

Kurin addressed Sarfin politely, “Would you please get Masters Juris and Selked here?  I want their expert testimony.”

Captain Farrol immediately objected, “Master Selked is a part of the conspiracy.  His testimony is worthless.”

“Why not let the Court decide the value of his testimony?” Kurin riposted.  “Or do you have any need at all for the Second Great Law?  Willful violation of rights under the Great Laws is grounds for loss of Captaincy and Master’s Certification.  

“I wonder how the Captain’s Council would react if that matter were pressed.  There are those here,” Kurin gestured at at the rail, where five Great Sea Dragons were watching the proceedings, “who can press the issue if they have reason to do so.

“Blind Mecat, a question please.  How important are the Great Laws to the Dragons?”

“Little Fish, we regard the Great Laws as the core of human ecology.  Without them, both humans and many other species impacted by them all suffer,” Mecat replied.

“Thank you, Cat.  Captain Farrol, the purpose of this trial is to determine whether any of the accused are guilty of anything.”

TO BE CONTINUED

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[angedemystere]

My Rewatch of Les Miserables, 1998

Ah, yes, I have decided to revisit that much panned film version, directed by Bille August and starring Liam Neeson, Geoffrey Rush, Uma Thurman and Claire Danes (and Hans Matheson and Toby Jones thrown in for good measure). This movie holds a complicated place in my heart by being the adaptation that introduced me to Les Miz, inspiring love for these characters and spurring me to look into the musical and the Brick itself .... only to then earn my distaste for all the inaccuracies from the original text.

So, now that I’ve revisited it with fresh eyes and a barometer by which to compare it to other adaptions, is it as bad as everyone says?

Well ... it depends.

Let’s start with how this stands as a movie.

First, the cinematography. In terms of setting and sets, this film is gorgeous. It starts with nature scenes (opens early on with a shot of the river ~ooohh~ foreshadowing) and provides a strong sense of location and space. Now I think in certain urban scenes, especially when the story moves to Paris, there’s a lot of washed-out grey that kind of blends together. It does have a purpose: to portray the desolation plaguing the poor that’s stirring l’ABC to action. Even so, it can be harder to focus on the details when color blends too much. Other than that (and some not necessary close-ups), the filming is dynamic, easy to follow, and overall really nice to look at.

Next, the script and pacing. The scenes within themselves are for the most part effective at getting across character and important information and making interactions feel natural. (The one bench scene between Cosette and Marius might be the exception - can no one write romantic banter well? Or is this true to how awkward romantic banter is in real life? Tell me, I have no idea). Of course you’re dealing with characters like Javert (and lovestruck teens) who make natural dialogue a challenge, but in the movie’s first half, there’s a strong reliance on exchanges from the book itself to make it work. 

Pacing within scenes keeps at a steady clip while giving time for important moments to breathe. But then the movie has to deal with time jumps, which can be awkward since we the audience are forced to reorient ourselves. The first jump works better because we’re meant to feel some suspense about what’s happened to Valjean between his encounter with Bishop Myriel and his being mayor. We instead meet Javert and follow him to his new post in Montreuil-sur-Mer I’ll ... get to that later. When he’s introduced to the mayor, we realize it’s Jean Valjean! That’s pretty satisfying. This movie most succeeds in the first half in giving us enough about Valjean, Javert and Fantine to get who they are, what their situation is and why we should pay attention. 

The next time jump brings us to 1832 and teenage Cosette. This time we’ve missed out on seeing Valjean and Cosette’s relationship grow, and not a whole lot is shown to solidify what their relationship has been like in the convent and what they stand to gain or lose by leaving that environment. We do get some insight, just not as much as I would’ve liked. 

Now, how are the actors? Everyone does at least a decent job, even sometimes a brilliant one. Liam Neeson brings warmth, shy awkwardness, and humanity to the character in ways that feel genuine. The awkwardness is most endearing when he’s interacting with Fantine, which is a deviation from the novel that I really don’t mind because, damn it, they’re just so cute! Speaking of which, this addition of a mild Valjean/Fantine romance (don’t worry, it’s as raunchy as kindergartners holding hands) actually plays a role in how Valjean handles Cosette and Marius’s romance. There’s a bit of lampshading when Cosette acknowledges that she has pretty strong feelings for a guy she’s known only a few weeks and it’s not rational, but her feelings are no less real. And Valjean respects those feelings because he experienced them in his own way with Fantine.

Hang on ... hang on a sec ...

Okay, I’m fine. BBC 2019 miniseries, eat your heart out.

Uma Thurman captures Fantine’s vulnerability without overselling it. She pleads for her case while flip-flopping between honest frustration and appeasing servility. But I must ask this: when her hair was cut, why wasn’t it cropped shorter? Maybe a clause in her contract? Also, no tooth removal. The filmmakers probably wanted Fantine to still look attractive enough for the little romance budding between her and Valjean. Points off for accuracy but still effective in pathos.

I remember not being a fan of Cosette when I first saw this film, not through any fault of Claire Danes or the writing but because I cared more about the Valjean-Javert dynamic than her romance (not predictable of me at all). And she can be pouty, but that poutiness is often justified by her cooped-up existence and a desire to live more freely. I also have renewed appreciation for the fact that Cosette 1) stood up to Valjean when he slapped her, especially given her abuse at Mme. Thenardier’s hands, 2) stayed fairly calm while lying to Javert’s face, and 3) held Javert at gunpoint while she freed Marius. For her sheltered upbringing, girl’s got nerves of steel.

This Marius, while still foolish (slipping out of the barricade that he’s supposed to be in charge of to visit Cosette and being not at all subtle while stalking her), has more sense than book!Marius. Granted, he’s undergone a fusion with Enjolras, but I understand the decision, which I’ll address shortly.

And Javert .... Javert is probably the hardest major Les Miz character to pin perfectly in any adaptation. This is for a couple reasons. One, because films have limited time, certain scenes that can establish an otherwise unseen facet of a character are often cut. This frequently happens with Javert’s later scenes: the police station (where he burns his coattails) and the Gorbeau house (twice - one when he’s disguised as a beggar, the other when he jokes about offering his hat and rebuffs Mme. Thenardier’s assault with his “claws of a woman” comment). Two, his frequent run-ins with Valjean are altered from being coincidences to international face-offs orchestrated by him, making him much more fixated, even downright obsessive, about catching Valjean. On both fronts, Rush’s Javert suffers from these cuts or alterations. But when it comes to the performance he delivers? 

This is the silhouette of a man who makes criminals wet themselves.

Is he my definitive Javert? Oh no. That dream has yet to come true for me. But I rank him in my top five preferred Javerts. I do have issues with some of his actions, like toppling the mail coach (just .....why?), smacking Fantine, and pointing a gun in Cosette’s face. That’s the wrong kind of asshole or creep for him. I do think it interesting, on this rewatch, to be reminded that this Javert’s mother was a prostitute, and when Fantine is harassed by Bamatabois and then retaliates, he first holds back from interfering (and stops the captain from interfering) and then “takes care of this” by slapping Fantine when she tells him the gentlemen started it. I don’t see Brickvert doing any of these things, but the purpose of this moment is to give us a glimpse into the depth of his hatred for the class of people his parents came from. We don’t know why he hates them so much apart from his overall moral and philosophical perspective, but you can’t help but wonder about what he experienced in his early life that would make him act violently toward a woman with the same occupation as his mother, but ONLY when she lashes out (understandably) at a member of good society. This outburst could also explain why he fixates on Valjean, a thief like his father. It’s not just his commitment to his ideals; he’s living a morality play with his parents as the criminals he needs to punish in order to prove he’s not one of them, that he’s risen above them, that he will not and CANNOT fall to their level. The fact this movie captured that nuance and had it carry out in subtext is a credit, even if I don’t agree with all the actions this version has him do.

No surprise that, given how much attention has clearly been given to Javert’s character by the film, this adaptation chooses to keep the center of narrative focus on Javert and Valjean, sacrificing a lot of other characters in the process. Eponine? Gone. The Thenardiers overall, gone in the second half once Valjean has rescued Cosette (except for Gavroche, but you wouldn’t know he’s a Thenardier in this). The Les Amis exist as a collective but have no individual identities apart from Marius and, arguably, this movie’s Enjolras, who is reduced to a team lieutenant and stripped of all other book!Enjolras characterization. Again, a good chunk of Enjolras’s charisma and commitment to the cause is lumped into Marius. The writers were likely interested in making Marius a more dashing love interest. This doesn’t always jive with the moments he’s actually Marius: stalking Cosette, writing her pages of love letters, ducking out of meetings early to see her when he’s supposed to be heading the planning of the uprising. The clash can be distracting. Still, Matheson tries to balances these two sides as well as he can.

This is where a lot of Les Miz fans have or will have problems with this version. If you’re anything other than a fan of Valjean, Javert, Fantine or Cosette, you’re going to feel deprived. I don’t actually consider this a major flaw of the film because the filmmakers were at least consistent in their focus, preferring to develop a few characters than stretch too thin with more characters who would have ended up with shallow portrayals anyway. But I will highly suggest that if you’re a diehard Les Amis or Eponine fan and are annoyed when adaptations reduce those characters, you might want to skip this version.

Now that the issue of character omissions or reductions has been dealt with, let’s get to what I have problems with that are actually on screen:

Valjean’s outbursts toward Cosette - this aspect of his character isn’t as prevalent as I remember, to be fair. There is one scene where he snaps at her as a child (and he immediately apologizes) and two scenes where he yells at her as a teen and/or hits her. Nonetheless, the notion that physical assault was necessary in his character toward Cosette of all people--please no. There’s no reason for it. In fact, there’s better reason to go against it to show contrast with how Valjean reacted to stressful situations in the past. Yes, those knee-jerk reactions can be hard to shake, but Cosette’s presence in his life is meant to show how much he’s grown. Granted, Cosette acknowledges that his outbursts are out of character, that he’s “acting so strangely,” and we do see tenderness between them most of the time. Still, it taints the relationship when his and Cosette’s book relationship, while plagued by secrecy, is entirely wholesome. Any hint of violence makes me wary of when Cosette says she needs to be there for him after learning about his past and plans to flee the country.

Javert’s suicide - again, more on Valjean’s end. Obviously this version is different from canon; Javert makes it seem like he’s going to murder Valjean and let his body fall in the river, only to free him and do it to himself, and Valjean is there to watch. And he fails to attempt saving him, which, given his actions at the barricade and the kind of man he’s become, comes across painfully out of character. So does the glee he expresses when a man has killed himself in front of him only a minute ago. Maybe if Javert had said something or done something to make saving him impossible or clearly against his wishes, Valjean’s inaction would’ve been more understandable. I do also question Javert’s wisdom in killing himself in front of a man who tried to save him mere hours ago. Why did he not consider that Valjean might try rescuing him again? Well, he seemed to make the right call.

Both of these choices point to an attempt to make Jean Valjean more flawed. This is a conversation the fandom has had before, and the question of slipping in a sharpness to redeemed!Valjean has come up in other versions, even some actors’ portrayals in the Broadway show. I see the argument on both sides--he’s human, he suffered years of conditioning that turned him hateful and willing to harm others. But it should be noted that, while Valjean is physically capable of throwing someone around like a sack of potatoes, he’s never demonstrated an inclination to do so, not even from what few details we have of his life in prison. The movie adds that violent edge to Valjean’s narrative, from when he first hits Bishop Myriel on the head to smacking Cosette in the face. Javert gets some of this treatment, too--never shown violent behavior in canon, smacks around Fantine and manhandles Cosette in the film. Maybe the filmmakers were worried a modern audience wouldn’t find a nonviolent ex-con and a non-violent policeman believable. Yeesh.

All right, some minor issues:

The changing of names - Montreuil-sur-Mer becomes Vigau. Fauchelevent becomes Lafitte. Champmathieu becomes Carnot. What’s going on? Were they scared of pronouncing French names longer than two syllables? Oh, and Valjean as the mayor never has a name. He’s just “monsieur le maire” wherever he goes. You think his alias is M. Maire? So he became Maire Maire? No wonder he was pushed to take office.

Child actors - they aren’t great. Hardly any get dialogue and it’s no surprise why. For those who do, it’s obvious they’re being prompted offscreen. The kid playing Gavroche is the exception and there’s too little of him.

Illiteracy - eh, I kind of give this a pass. It’s not book canon that Valjean is illiterate post-Toulon, and I don’t remember if book!Fantine is illiterate, but it gives them a little bonding moment and gives Neeson the opportunity to show off his first-grader-concentration face when he practices his cursive.

Having addressed the big (and not so big) problems of the film, were there good parts in terms of adaptation? Yes--I think Neeson and Rush have a scintillating Valjean-Javert dynamic. I like how they have some understated snark jousting in the Vigau scenes. The 2019 series wishes it could achieve that level of sniping. But then, Brickvert wasn’t very subtle when he brought up how he knew only ONE man, one CONVICT, who could lift the cart, and Valjean is trying to deflect or ignore him while Fauchelevant is being crushed. Maybe not book-accurate, but entertaining as hell.

Also, while I don’t ship them, the Valjean-Fantine scenes were cute and made my heart squeeze. I know it was gratuitous. Their bond provided a little spot of light in their miserable (hah!) lives.

Also also, I like Javert’s informant in the 1832 scenes. He’s funny, cynical (he complains how nauseating Cosette and Marius’s romance is and swears off having daughters), committed to his job (he catches a cold from watching Cosette and Marius in the rain on Javert’s behalf), and respects Javert without being afraid of him. They even walk together to the barricade so Javert can get in and not draw suspicion. And for some reason he doesn’t have a name! Guys, if you like Rivette from the BBC series, let’s give this unnamed informant some love. I want a buddy cop series with him and Javert.

To wrap this up, I’ll say that Les Miserables (1998) is certainly flawed as an adaptation. Jean Valjean and Javert get injected with violent tendencies, Fantine stays prettier than she should, Marius and Enjolras have undergone fusion, and 80% of the book characters have vaporized or barely exist as bit parts. But I wont say stay away from this abomination because it’s not abominable. It’s ... ok. It’s serviceable in capturing the main plot arc of Les Miserables and a couple of its crucial themes. I think Les Miserables is one of those books where you’re probably not going to get the screen adaptation you want, so maybe watch a bunch, pick a few that least offend you, and fuse them together into your own imagined adaptation. With luck, the components are more cohesive than those of Marijolras.

[tacitcantos]

Why 2019′s Twilight Zone is Boring

Though 70 years old at this point, the original 1950 Rod Sterling Twilight Zone is still one of the creepiest and smartest works of speculative and weird fiction ever committed to TV. It’s a series that poses strange questions and offers even stranger answers, a series that’s moody and atmospheric and thought provoking, a dark parable that’s gone on to inspire other works of weird fiction.

It’s no wonder then that there have been so many attempts throughout the years to revive it: a movie in 1983, a series in 1985, and another series in 2002. Each has been greeted with varying levels of critical success, but none have been as culturally impactful as the original.

The 2019 remake... won’t be breaking that tradition.

Don’t get me wrong, the new Twilight Zone has a distressing amount of quality and talent involved. The cast is solid throughout, and the only reason certain episodes work at all is the powerful performances of the actors involved. There’s also a nice push for racial diversity in the cast, and sometimes in the themes of a few of the episodes like Replay and The Traveler.

The visuals of each of the ten episodes are gorgeous and moody, and the music wonderful and atmospheric and reminiscent of the discordant jangles and strings of the late and great 2013 Hannibal tv show. It’s a lot of quality to be draped on a fundamentally flawed structure.

To understand the fundamental flaw in the new series, we have to go back to the original Rod Sterling Twilight Zone. And the thing that has to be understood about the original series is that it’s not science fiction despite looking like it on the surface.

Science Fiction

Though there are dozens of definitions of science fiction, at its core one of the key aspects of science fiction is that it introduces a technology or technologies we don’t have in the modern day, and it explores and maps out the impact and implications they’d have on individuals and society.

For example, I, Robot by Isaac Asimov is interested in the implications of what sentient artificial intelligence means for our understanding of personhood, how an AI would define and think about itself, and how society would go about trying to control it, leading to the three laws of robotics for which the book is most famous.

This definition of science fiction is also why something like Star Wars, at its heart, is not science fiction despite having a lot of the trappings of it. It has a lot of technologies that don’t exist in the modern day, but it’s not interested in the impact of them. It has lightsabers because they’re cool, not because it wants to speculate about how they would change warfare.

Even the implications of the force, the speculative aspect of its universe that’s most critical to the story, isn’t really explored. How does the force change the universe? You get mystical samurai cops, and that’s about it. Nothing about the force is actually key to the functioning of the star wars universe. You could take it out and the movies would be a lot less fun, but the universe wouldn’t really be changed. This isn’t to disparage Star Wars: I love Star Wars, but despite its trappings it’s fantasy, and to say it’s science fiction just isn't accurate.

Parable

Much like Star Wars, despite its trappings The Twilight Zone isn’t science fiction. But it’s not fantasy either. The Twilight Zone is a much older and simpler form of story. It’s a parable. Each episode is a self contained story of right and wrong, with the strange or impossible element there to hammer home a message, not be explored.

All three of these genres we’ve talked about, Science Fiction, Fantasy, and parable, have strengths and weaknesses unique to them. One of the strengths of a parable is its clarity. There’s right and wrong, and not a lot else to be said. Almost by necessity, parables have to be streamlined and simple in structure. In a parable there’s a message or lesson and the story is really just a vehicle to illustrate it.

The parable of the boy who cried wolf doesn’t go into the emotional underpinnings of why a boy would consistently sound a false alarm over and over again, because it’s not important. Did he have an abusive childhood? Was it a metaphor for trying to escape abuse and the unwillingness of society to listen? Is the wolf symbolically his abuser? The parable doesn’t care and it isn’t important to the point it’s trying to make; don’t sound false alarms or no one will pay attention to you when the threat is real.

Simplicity of Structure

The original 1950’s Twilight Zone understood that simplicity of structure was key to a successful parable: each episode was a half hour in length; just long enough for setup, twist, and falling action. You can tell this simple structure was key to the Twilight Zone’s success because most of what people remember about any given Twilight Zone episode is the ending.

And while having such a simple structure might seem restrictive, I’d argue that not only is it the most effective way of telling a parable, but that there’s a lot of freedom in structure, that the simplicity of the structure allowed Rod Sterling and the other writers to grapple with issues other shows on TV couldn’t at the time, and allowed the episodes to breath in the grace notes.

And exhibit A in my argument is the new Twilight Zone.

Where the original Twilight Zone was a half hour, the 2019 incarnation is twice that length at an hour. And while I’m sure the writers and producers thought that was a great chance to expand and tell a more complete and complicated story than the original show, what it actually does is put the episodes in an uncomfortable limbo. They’re too long to be able to embrace the simplicity of the original show, that structure of setup twist and falling action, and too short to really be able to explore the core concept and theme of each episode. There’s a reason most movies aren’t an hour long, and that’s because it’s simply not a conducive length for telling a good story. With each episode of the New Twilight Zone I found myself bored around the thirty minute mark, impatient for the twist out of curiosity but not really invested in the characters or plot.

Not All Men

Episode 7, Not All Men, is a good example of the problems the extended run time of the new Twilight Zone can cause. The core concept is that there’s a meteor that falls and causes all men in the area to become violent. This is sort of a dumb concept to begin with, but not completely doomed. The main character even goes through some growth. She starts the episode unassertive and meek in the face of the patriarchal hierarchy of the company she works at and ends it standing up for herself against male harassment:

This isn’t an inherently bad arc, but it’s execution is pitiful, without enough weight for we the audience to become invested in. We never get any real indication of why the character starts the way she does, what her life experience has been to shape her into who she is, and there’s no sacrifice or growth involved in her change.

If the episode was longer it could’ve delved into that material, made the main character a fully realized and three dimensional person that we could’ve become invested in and root for, but as the episode stands she and her growth are more perfunctory than anything else. She’s meek, she runs from agro dudes for a bit, then stands up for herself.

The twist of the episode also isn’t worth waiting a whole hour for. At the climax of the episode it’s revealed that while the meteor makes men more violent, it’s not an overriding urge: the episode implies that the affected men didn’t resist simply because they wanted an excuse to inflict violence. But, because the twist comes so late, its not really given enough time to breathe and be explored in a meaningful way.

Simple Messages

This ties into another fundamental problem with the 2019 series, which is that it isn’t anywhere near as smart as it thinks it is. Often the idea or message at the heart of an episode is borderline offensive in how simple it is. By trying to avoid destiny you create it? Paranoia is bad? You should care about the suffering of others? Mind boggling. Truly.

They’re not bad messages, but they’re simple. And the television audience of 2019 isn’t the audience of 1959: the modern audience is more schooled and experienced with scifi and weird fiction. We’re not shocked or provoked into thought anymore just by the introduction of a weird element like your car coming to life and stalking you. It’s not enough.

This isn’t to say audiences of 1959 were dumb, but the discourse around scifi and weird fiction for even the casual tv watcher of today is a lot more complex than it was back then. We’re not in the 101 level anymore, more like the 103 level: we’ve seen the initial introduction of most ideas, seen them explored and challenged and subverted, and are now bored by those first two levels of discussion.

This is why the core message of an episode like Point of Origin, in which refugees from another world are rounded up and placed in concentration camps, falls flat. The episode follows a woman who’s privileged life is stripped from her when a government agency identifies her as an unwitting refugee from another dimension, and imprisons her in a concentration camp.

The episode’s message isn’t subtle: you should care about the suffering as others, you should treat immigrants as people: and that even before her fall from grace the woman should’ve cared more about the fate of her immigrant housekeeper and illegal immigrants broadly.

It’s not a bad message, and it’s one that a mind boggling amount of people nowadays somehow still don’t understand, but from a fictive perspective it’s too simple and trite to spark interest and engagement or make the audience think.

Preach Fatigue

And it’s also a message we’ve heard several thousand times. The way we consume information nowadays is different from when the original Twilight Zone first aired; the discourse around topics like immigration or gender nowadays is in many ways saturated and as an audience we suffer from a type of preach fatigue where we’ve been told so many times the given side of a given topic is bad or good that we’ve sort of stopped listening.

This wasn’t as much of an issue in 1960, and it especially wasn’t an issue with the Twilight Zone. Back then scifi and weird fiction wasn’t considered a mode of serious social commentary in the tv arena, which meant The Twilight Zone could lure audiences in for a fun and spooky time, their cognitive defenses lowered, and then sucker punch them with something deeper than what they expected.

That advantage of bypassing and audiences preach defenses is completely lost in 2019’s Twilight Zone. We all know that science fiction can effectively tackle big issues, and we know the deal with The Twilight Zone specifically: that it’s going to have a twist in the last act that makes us question our complicity in some social issue. Our preach fatigue hackles are already raised.

In 1960 the Twilight Zone was adding a new element to the discussion, but now, the social topics it was concerned with are are so heavily examined that to do truly do a comparable job, it needed to be way, way more clever than Point of Origin’s premise of "imagine its aliens instead of Mexicans". To be as effective as the original, 2019’s Twilight Zone really needed to tackle issues that are less clear cut than men having a choice in their violent behavior or whether illegal immigrants deserve basic human rights, issues that are less overtly preachy because they’re less discussed.

For example, Point of Origin actually has the kernel of a complex and interesting idea in it, it just doesn’t do anything in it. In the episode as it is now the main character’s fall from grace serves largely as a kind of gotcha moment of the irony in how the tables have turned, but in a better version of the episode her arc could be used to explore the idea that social lines are largely arbitrary and fickle, and that whether you’re part of a group or not can change on a whim.

It’s an idea that’s worth examining the facets of, the causes and effects of how and why and where social lines are erected, and one that’s more complex than Point of Origin’s trite message about how you should treat immigrants like people. There’s more material there for an audience to chew on and engage with, and one that’s less preachy and more thought provoking.

Metaphor and Censorship

Another element that made the Twilight Zone successful and relevant in 1959 but doesn’t really apply today, is the issue of censorship. In 1959 what could be portrayed on screen, and which topics could be explored was far less permissive than it is today.

There’s an interview with Rod Sterling right before The Twilight Zone first aired where he talks about being tired of clashing with sponsors and executives over what content and social issues his screenplays could include. One example he brings up comes from a teleplay on the Nuremberg trials in which the company American Gas insisted on an edit:

“In it as you recall, mention was made of gas chambers. And the line was deleted, cut off the soundtrack. And it mattered little to these guys that the gas involved in concentration camps was cynanide which bore no resemblance physical or otherwise to the gas used in stoves. They cut the line.”

“Because the sponsor was-”

“They did not want that awful association made between what was the horror and misery of Nazi Germany with the nice chrome, wonderfully antiseciptically clean beautiful kitchen appliance that they were selling.”

But just as with the point about the lack of complexity in it’s themes, the new Twilight Zone exists in a different era than the original. We’re at a point in television and fiction where creators don’t have to bow as much to advertisers or censors and can actually just say what they mean. Point of Origin doesn’t need to veil it’s message about immigrants and their demonization in scifi terms; it could just tell a story about real world immigrants and refugees. This doesn’t mean it has to be bereft of weird elements, those still have a valid role to play, but it does mean it can address the issues it’s about head on and directly, and I’d argue there’s value in that kind of clarity.

Some people will make an argument that veiling issues in scifi metaphors lowers an audience member’s kneejerk defenses and lets them look at an issue stripped of their preconceptions and prejudices. And there’s certainly a tradition of creators using weird fiction to try and accomplish that.

Rod Sterling himself spoke about it in several interviews throughout his career, though he seems to have been somewhat split on the utility of using scifi metaphors. At one point he said about audiences:

“You may have to tell them a story of prejudice in parable form in which they may step aside as third persons and cluck how awful we treat our minority groups but at least they know that it’s an evil, and they will recognize it as such. And by osmosis or some incredible process will somewhere along the line, be faced with a situation in which they too may have to exorcise a prejudice and be conscious of it as an evil.”

“Now on Twilight Zone for example, we made a comment on prejudice, on conformity, on intolerance, on censorship, but it’s easy to do it when you’re talking about Buck Rogers isn’t allowed to write his memoirs in the way he wants to write them so he puts on his backpack, his rocket pack, and he zooms over to the publisher. And they applaud and laugh and think how interesting. Now it may well be that the inner message never gets through, but I think peripherally it does get through.”

But in that same interview Sterling also emphasizes the need for clarity, immediacy, and hitting the audience where they live when discussing social issues:

“I think the- the purpose, the point of a dramatic show that’s used as a vehicle of social criticism is to involve an audience, to show them wherein their guilt lies, or at least indeed their association.

This latter point is the one I think is more valid. I’d argue that veiling real world social issues through weird fiction metaphors to make audiences think is a nice sentiment, it’s not a particularly effective technique, and often the metaphor simply goes over people’s heads.

How many red-hatted build-a-wall-enthusiasts watched Point of Origin and thought to themselves after; “yeah, you know what, immigrants aren’t so bad and we shouldn’t round them up into concentration camps.” I’d argue none. It’s far, far too easy for an audience member to simply think that sure, in this case what happened was unfair, but this real world case is different for x y and z reasons, no matter how insignificant those x y z differences are to the core situation.

Fundamentally, people are simply very, very good at ignoring and minimizing information that destabilizes their world view, and it’s relatively simple to do it with fiction. And none of the new Twilight Zone episodes are pointed enough to break through that cognitive barrier.

Get Out (Or In...?)

What’s ironic, is that for all that Jordan Peele shows up in the new Twilight Zone, his own movie Get Out is a far more effective blueprint of what the Twilight Zone should be, and a good contrast to it. To begin with, the scifi concept at the heart of it, that there’s an enclave of rich white people stealing black people’s bodies for themselves, is a manifestation of a complex and nuanced form of racism that often isn’t acknowledged or discussed.

Racism is generally thought of as a simple dislike or belief in the inferiority of another race, and while that’s accurate as far as it goes, racism can also fetishize or simply allow for superior traits in the othered racial group while still denying the people themselves their agency and basic humanity. It’s a form of racism that was one of the bedrocks of slavery, that as an institution it perfectly paired black bodily strength with white intellect, and you can see a modern expression of it in how until recenly most quarterbacks are white while the offensive line black, the black members serving as the muscle to the quarterbacks mind.

The racism at the center of Get Out is a far more complex and nuanced than Point of Origin’s message about treating immigrants like people. It complicates most people’s understanding of racism as the simple belief that races that aren’t their own are inferior, and makes us question our complicity and assumptions: as much as we don’t think other races our worse than our own, are we as careful about how we assume parts of them may be better while still not valuing their core humanity?

At 144 minutes, Get Out also not only has enough time to explore this idea, but also to breathe and build to its twist and flesh out its main character. Unlike Not All Men’s main character, Get Out’s main character is a real and multifaceted person with weight and history, and goes through a coherent character arc. We never get a concrete reason for why Not All Men’s main character starts the episode meek, which makes her blurry and poorly defined: by contrast, we’re shown Get Out’s main character was traumatized by what he feels was his complicity in his mother’s death, which gives his eventual overcoming of it real emotional heft.

The alternate ending of Get Out even threads his emotional growth through the themes of racism: despite having his body imprisoned, the main character is mentally free, an inverse of the fate he would’ve suffered at the hands of the Armitage family. Here’s director Jordan Peele explaining the scene:

“He beat the dragon, but more importantly for Chris when he says ‘I beat it’ he’s talking about his inner demon. And that was the moment he went back for Georgina after hitting her in the car, he defeated his personal demon of when he didn’t go and get his mother. So in a way he made the only decision that would free his soul. And even though he’s in prison like many black men are unjustly in, his soul is free.”

Get Out also has the advantage of being in a genre that, just like the original Twilight Zone, isn’t oversaturated with serious political commentary. While there are smart and socially intelligent horror movies out there, many people still think of them as dumb fun, and thus Get Out can effectively draw you in with the promise of cheap thrill before sucker punching you with depth and message.

Get Out has clear cut right and wrong, it’s not like we don’t know who to root for and who is evil, but these three elements together, a complex theme, a real character, and low expectations, save Get Out from the preach fatigue I talked about before and from which the 2019 Twilight Zone suffers so heavily.

Ultimately, 2019’s Twilight Zone feels like an outdated show, stiff and limited and slow. Worse, it’s boring, which is really the greatest sin. It’s stuck in an uncomfortable limbo both in terms of era and length; it’s mired in the past trying to emulate a tv show that’s sixty years old at this point while also upending its structure and replacing it with one that’s incompatible with what it’s trying to imitate.

[asterisquebloomed]

Follow Forever

I seen a few of these before, and I thought what with the year ending, perhaps this was a good idea to do in commemoration of these past two years. I know I haven’t been the most active of RP partners. I’m really slow and my motivation is fickle, but I love RPing, I love writing, and I’ll never give it up, it brings me so much joy writing with everyone. So in honor of all that has happened, and as wish for more to come, here are some words of gratitude to some of my partners, friends, and mutuals.

@breakingreality

Avo, where do I even start with you? Oh I know, that you’re fucking amazing? Is that a good place to start? It better be, because here we go.

You are my best friend out of all the people I’ve met here in these last two years. I love talking to you, gushing about our characters, scheming and plotting future threads, teasing you with unanswered questions and unsolved mysteries, teasing you in general really, and just talking about whatever may cross my mind at the time. You’re easy to talk to, easy to get along with, and super friendly. I’m so happy to have met you and made friends with you, you have no idea. I’ll fucking fight anyone who dares talk shit about you. You’re understanding, smart, clever as fuck, and are one of the most enjoyable people to talk to. You’re a great writer, a great creator, and an even greater friend. I look forward to talking to you and I thoroughly enjoy your company. I don’t think you’ve ever once pissed me off, which is amazing because I have the shortest fucking temper ever. I wholeheartedly appreciate you and everything we’ve done thus far. If you ever need someone to talk to, to vent to, to confide in, whatever, I’m here for you. So if you ever feel lonely, or unwanted, or like you’re being ignored, come talk to me, cause I’ll never ignore you.

On that note, let’s turn our attention towards the RP side of things shall we? You’re an amazing writer, a wonderful RP partner, and your character are great. Like I love Eli, she’s fucking fantastic. Her sassy attitude, her impulsive nature, her quirky habits (Please don’t eat frozen steak Eli) and just all the intricacies and nuances, every single thing about her is great. A girl forced to grow up too fast, a child forced to face her mortality before she even got a chance to live. So when faced with two options, to die sad and alone without ever having had a chance to truly enjoy all that life has to offer, or to live by forsaking her humanity, the choice was obvious. She gave herself to the darkness, embraced being a monster, all for that chance. A chance to experience, to enjoy, to live.  I’m sure most of us would make the same choice if we were faced with such a dismal situation.

Eli is amazingly written, you bring her to life in a way most could only hope to achieve. Her reactions are organic and visceral. She’s such an emotional girl, as much as she tries to hide it behind that stoic facade of hers. Her emotions are so raw and powerful that they sway the reader to feel along with her. To feel her fury as she fights against those who have done terrible things to her or those she loves, to feel her happiness however short lived it tends to be, and to feel her sorrow, the deep, bitter sorrow that seems to constantly plague her very existence. She can never seem to escape it. The abuse, the torment, the manipulation, all the suffering she goes through, that leads her to the edge, and when presented with it, she jumps. She leaps into circumstances she never fully understood, dives into a dark and twisted world, one full of horrific tragedy. Before she knows it and before she’s even aware, she’s lost her humanity. She’s become a monster, not only in name, but in nature as well. She’s become the demon those nuns claimed her to be, and she murders her tormentors for the things they have done to her. She gets taken in by a morally questionable individual and is put to work as an assassin, forced to kill people who are the same as she once was, humans who became monsters and lost control. She’s forced to essentially kill herself, over and over again. She’s been isolated her entire life. Made to mistrust others, to be distant, to be cold, to be uncaring.

And then she meets a girl, a special girl who accepts her for what she is. A girl who, while initially afraid of the truth that was revealed to her, overcomes that fear, because what you are doesn’t matter, it’s who you are that is important. She accepts her, refuses to let her go, and swears to never abandon her. For probably the first time in Eli’s whole life, she has a friend. Someone who truly cares about her and enjoys her presence. It’s no wonder she fell in love is it?

But like all things in this poor girl’s life, it’s fated to end in tragedy.

Listen, I love Eli, she’s a great character, she’s compelling, nuanced, and with so much depth, of both emotion and personality. She’s conflicted, she struggles, she has ups and downs, she feels and wants, she’s both silly and serious. She’s like a real person. She’s not just one thing, but many things, all blended together to create a single individual, just like we are.

You’ve done an absolutely fantastic job writing this girl. You should take pride in what you’ve done, because you’ve created an amazing character here.

I adore her relationship with Ivalinne and Reiko. They’re such stark contrasts to each other, such different dynamics, and the conflict between the three is great.

Which brings me to threads, I’ve loved every single one, and I have SO many ideas for more. I’ve got so many plans and schemes and plots in my head that I have yet to spring on you since I don’t want to overwhelm you, and I hope we’ll get to explore each and every one of them. I can’t wait!

You are probably the biggest fan of everything I do. You support me in my endeavors and are always cheering me on, and I thank you for that, I really appreciate your support, how much you enjoy my stories and characters, it makes me so incredibly happy. You’re probably the biggest fan of Ivalinne’s story, and by far the most vocal. I hope you’ll continue to partake in my stories as I tell them, I’d love to have you along for the ride.

Have I heaped enough praise on you yet? I could probably go on for hours about how amazing you are, so in the interest of not making this post even longer than it already is, I’ll stop here.

Avo, you’re great is all aspects, and I hope we continue to write together for as long as is possible. I look forward to the coming year and all the wonderful threads we’ll surely write together in 2020.

@intrinsicmirage

Aster, you’re such an amazing writer. Your narration is beautiful, I love the way it flows and how poetic it is. It’s a pleasure to read the things you write and a joy to see you on the dash.

You are a creative force, your ideas and concepts are awe-inspiring. The lore you’ve crafted is so interesting and well thought out, from the Coils to the Shroud, to the various species you’ve made all from scratch. You have an amazing mind and I love seeing what you come up with. Your characters are compelling, interesting, and in some cases downright terrifying. S9 is a fearsome being, an ancient god risen from the dead yearning for the power they once had and more, intent to make the universe bend to their will and take all they can get.

Syn is great. A woman struggling with her past and trying to find meaning, going from a materialistic, greedy mercenary whose focus rested solely on the wealth and possessions she could gain, to her confronting her past and taking on the trials of the Coils. She’s so haunted by her pasts traumas that in the past she couldn’t bear to speak of them, and to confront them head on took a lot of courage. She comes out triumphant and sees the world in a new light, making her realize just how pointless her treasure trove of amassed wealth is, and that there’s something much more important than money and material things. She takes her future into her own hands, reshapes herself and takes control of her own identity, giving herself a new name, one that she chose for herself, one that wasn’t given to her by someone else. It was hers and hers alone. Now known as Malam’schir, she sets her sights far higher than she once did as Syn, seeking to tear down a corrupted system of power where the strong reign supreme. All that she willingly puts herself through and endures for that goal, it’s admirable. She’s done a lot of horrible things throughout her life. She’s never been what one would consider selfless, in fact, she’s been the opposite, and for someone like that to, in the end, work towards helping the weak who are trapped under the heel of corrupt monarchies and corporations who hold an iron grip on the planets and systems in the galaxy, that is some amazing character development.

I think it really is amazing when a writer can make you feel for a character that isn’t morally sound and who is either grey, or downright evil. It takes a lot of skill to get the audience to invest in and sympathize with a character who isn’t an obvious hero. To have the reader root for someone who has killed countless people without a second thought, who lies and steals and does whatever it takes to achieve their goals, that in my opinion is a true sign of a skilled writer.

And you’ve done exactly that. I find myself wanting Malam’schir to succeed, cheering her on even when full well knowing that during the Lifeforce Coil she’s systematically torturing and murdering people to gain a better understanding of how that energy works before assimilating the lifeforce of those she’s killed into her own to bolster herself for the journey ahead. How detrimental this act becomes to her, as all the memories and personalities of all those she’s absorbed blend together. The gambles she takes as she descends into the Nine Hells and the risk all of this poses to her, not just physically, but on a fundamental level. The question of ‘is she still herself’ when all of those personalities merge and intermingle. What is truly her and what is inherited from all the souls she’s consumed. It’s fascinating and I can’t wait to see how it all turns out.

You’ve done an excellent job with your characters. They really feel like actual people, not mere concepts, but individuals with a will all their own. You bring them to life in such a spectacular way and it’s an honor to be able to write with you.

As a creator, I look up to you. You inspire me to go further and deeper, to explore beyond the world I created and reach out into the universe in which it exists. To explore my concepts on a cosmic scale rather than on a planetary one, and I thank you for that.

You’re a great friend, easy to talk to, fun to bounce ideas off of, and just an overall welcoming person. I’m glad to have met you and it makes me so happy that we’re friends. We’ve been mutuals since almost the beginning, sometime in March of 2018 or so, over the course of so many URL changes that I had to give you your own tag just to keep track of them all, and it’s been wonderful having you along for the ride. Thank you for your support through these years and for your continued interest in what I do.

I absolutely adore our ship and have so many ideas for what is to come for Reiko and Syn/Mala. Despite them both being terrible people, their relationship is so pure and beautiful. A love without expectations, one that doesn’t judge or hold the other to some sort of standard or code of conduct. A love with no burdens, but just simply being there with one another, enjoying the moment and each other’s presence. It’s so wonderful and I love every instance of it. Such rich emotion and such a profound love, even though both believe themselves unfit for love and unworthy of being loved. For such dangerous beings which such questionable morality, they are so sweet together. The fact that these two, who are ultimately very selfish individuals, would do anything to protect the other—even if it cost them their very lives—is so beautiful, it touches my heart.

I look forward to what is to come in the new year and hope to continue writing with such a wonderful writer for as long as I can, and I hope you too, feel the same way.

@sisterofthedevil​ / @cruentusscarlet​ / And more

Flan, you’re the reason I’m here in the first place. You were the first person I reached out to when I decided to come back here and enter the RP community. It was due to you that I got to join that first discord server, the first one I was ever in. It’s my home and I treasure it so much, so much so that even if that server is slowly declining, I’ll never leave it, because it’s the first place I got to call my home on discord. All of the friends I’ve made, all of them are thanks to that first step. If it wasn’t for you I might not have been able to make my place here. I’m so grateful for that. Even if we don’t talk much, I still consider you a good friend. And that’s not to mention how great of an RP partner you are.

Reiko and Flandre’s thread is one of my favorite threads I’ve had to date. I’ve loved every moment of it, it’s been such an intense roller coaster of emotions, and it’s probably the only thread where all of Reiko has been on full display. I hope going forward into 2020 that we can continue to write together.

You’re a great writer with such a unique style. Each one of your muses is fleshed out with intricate details and is a different spin on things, What with Flan having accidentally killed her sister and become the new mistress of the manor. Remilia embracing the role of being a terrifying monster and doing horrible things without batting an eyelash. Parsee being trapped not only emotionally and mentally, but spiritually and physically as well, unable to leave the bridge and be free. Satori, despite the horrors she’s witnessed, does not just follow suit to her species. You’ve given attention to every little detail, from the placement of her veins to the way she would have to put clothes on to accommodate them to the lasting effects of being able to read minds and bring other’s traumas to the surface. Alice is such a unique take on her as Shinki’s daughter, I don’t think I’ve ever seen anything similar in regards to Alice’s origins and it’s amazing.

Each one of your muses shows how much thought you put into the characters you play and how dedicated you are to them. All of their trauma is very much real, and you portray it so well. There is never an easy fix to such problems, and you’ve done their struggles justice and shown just how hard it is to live with things like loss and abuse. Never does it feel like their trauma is overlooked or minimized, and their struggles with their demons and all the torment they’ve endured is very real, and how each one of them deals with their trauma in a different way shows such deep understanding of how different people react to things differently and everyone has their own way of coping.

I hope going into the next year that we’ll continue to RP together, there’s so much more I want to see and explore with your muses. You’re a great person, and I wish you all the best for the coming year.

@catacombofsouls​

Lina, we’ve only become mutuals rather recently compared to most on this list, but I’ve thoroughly enjoyed talking with you over these past months. It’s great to have someone to scream about The Case Study of Vanitas and Pandora Hearts with. You’re friendly and easy to talk to, and you’re always up for whatever ideas I come up with, or happen to mention. Really, you’re a very kind person and I enjoy your company. I hope going forward we’ll continue to be friends and RP partners for the foreseeable future.

I know with my recent lack of motivation that our threads haven’t gotten very far. With any luck, I’ll be able to regain my motivation and write more frequently. You have so many muses I want to interact with, particularly your OCs. Light is a very interesting character and I want to interact with her at some point in the future. I have quite a few ideas, but I don’t want to overwhelm you or myself for that matter, so once I get our threads going again and I’m not in draft hell, I’ll come to you with some even more fucking up ideas!

Thank you for reading Ivalinne’s story! I’m glad you enjoyed it, and I hope you’ll stick around for the stories to come! I’m glad you like my characters and I hope you’ll continue to enjoy what I create going forward.

@mayohigan-orange​​ / @witchwaltzing​

Cobalt, I know you don’t think you’re a good writer and all, but you really are. You’re not only fun to RP with, but fun to talk to as well.

Reiko and Chen’s interactions have been a wild ride, and a highly amusing one at that. Chen has such a feisty personality and she’s not afraid to speak her mind, or to even cuss someone out, regardless of who they are. Though that seems to get her in trouble more often than not. Between her picking fights with all the wrong people, and her devotion to those she cares about, Chen is joy to have around. Even with Ivalinne, who she hardly knows, she’s promised to keep her safe and she won’t betray her word. She’s an admirable little kitten who tries her best. She’s still very childish and her lack of worldly experience shows with just how easily Reiko has been able to get things to go her way, which still astounds me since that’s entirely unplotted and we just go with the flow with our threads.

At first glance, your Chen appears to be just the cute cat often seen in fanon, but once you get to know her, you see that there’s more to her than just that. You’ve developed her character and given her depth. Her eagerness to prove herself, to live up to her Master’s name and legacy, how desperate she is to do so despite the risks. How protective she is of those close to her, and even those she’s only recently met. She’s a good girl with a strong heart and even stronger convictions, and how passionate she is shows in not only her words, but her actions as well.

You don’t give yourself enough credit. You’re a great writer, and a fun RP partner who pushes themselves to do more. I seem to recall you not being too confident in fight threads, but here you are, writing one with me and doing it spectacularly. You’re dependable and reliable, probably one of the most reliable RP partners I’ve had the pleasure of writing with. You’ve never once dropped one of our threads, even though we have so many, and that’s something I greatly respect.

You’re a good friend. You’re easy to get along with, and you’re so casual and friendly, joking around and just overall are an enjoyable presence to have around. It makes me happy that you were so enthusiastic about Ivalinne’s story, to the point of wanting to change the ending. To have someone be so invested in something I wrote is amazing. I’ve done my job as a writer if I’ve made the reader feel for my characters and root for them, and I’m so glad you enjoyed it so much. Thank you for your support and your continued patronage, I hope you’ll continue to read my stories and continue to RP with me moving forwards into the coming year. Don’t doubt yourself, you’re a good writer, and I’m sure you’ll only get better as you go.

@soulwitch / @volatilepaths

Kako, you’re really just amazing on all fronts. You’re a great supportive friend, a calm voice of reason, and a wonderful and dedicated writer. You put so much of yourself into everything you do. You’re always there to help anyone who needs it, always willing to give advice and be there for those who are having a tough time, it’s really awe-inspiring just how much you give to not only the community as a whole, but to everyone you interact with. I know I’m frustrating to deal with at times, but you never give up on me, and I really appreciate that. So many others would have just been done with me, they wouldn’t have tried to work things out and make sure an understanding was reached. I’m really grateful for that. The problems I’ve come to you with, and you’ve helped me work through, I’m grateful for that, truly. You’re so friendly and accommodating, always wanting to make sure your partner is happy and comfortable, and that they’re enjoying how each and every thread goes. The way you put others needs ahead of your own is really admirable. You’re a great person, and you deserve all the best, really.

You writing is great, and your characters are amazing. You’re not afraid to delve into some really dark topics and that, in my opinion, takes a lot of courage. Jeanne is absolutely terrifying, through and through. She’s a great villain and a force to be reckoned with. A woman so utterly broken by all she’s been through that she’s become such a monster, one who cares not what evils she commits. She lies, she manipulates, she does whatever it takes to get what she wants, to satiate her desires. She’s a masterpiece of a villain, and I really need to find some way to get to see more of her. Reiko utterly despises her, and wants absolutely nothing to do with the woman, to stay as far away as she can and to keep Jeanne from encroaching upon her. They’ll never be able to get along thanks to Jeanne hitting upon the things she most abhors, so I’ll have to come up with something else, because I do want to interact with Jeanne. I want to see more of her, try to understand her better, she’s a character with a lot of depth, and I want to see more than just the surface.

Which brings me to the Redbellion event. Everything about that was amazing, Kako. From the story, to the interactivity, to the sheer size and the amount of time and thought put into everything. It was great and I’m glad to have been a part of it, even if it was only a small one due to my own anxieties. You were so helpful and accommodating, making sure I who was late to join, was able to get in on the action and feel like I made a difference in the event. I’m proud to have contributed, happy with what I got to do. It was fun reading through the various stories that came from it. I got invested in quite a few things and found my emotions swinging to the tune of your words. The androids that struggled to survive as they were divided between their mother and their nature as synthetic beings, Core who became a terrifying abomination, and Harune, who sacrificed all she held dear just to save this dying galaxy. It was a beautiful story and you did an amazing job bringing to life not just a single world, but an entire galaxy. It’s amazing what you did. You put so much time and effort into the whole thing. The sheer depth of your dedication and devotion is admirable. I could never hope to do something like that, let alone carry it all the way to the end. Your determination is amazing, and you have my deepest respect for your efforts.

You’re someone I look up to, someone I’m glad to know and happy to have the honor to write with. I know I haven’t been the best of RP partners, what with my sporadic activity and my flighty muses and motivation. I’m sorry for that, and I hope that I can do better in the coming year. You’re a great writer, an amazing person, and a wonderful friend, and you deserve all the best in the coming year.

@unhingedsea / @sophisticatedsuccubus / @justthatdamnrich / And more

Ellen, I know we haven’t spoken much recently, but I hope we’re still as close as we were a couple months ago. I miss having you check in on me and message me. I really enjoy your presence and love talking with you. Hearing about your ideas, how you’re branching out into fandomless OCs of your own setting, it makes me excited to see what you create. I hope you’ll bring them to tumblr so that we can interact and I can see more of them.

Your characters are a diverse mix of drastically different personalities. From Wada, who is batshit insane by any measure, to the shy and socially awkward 2pi, to the rage filled Klowni, you have such a varied mixture of characters. I’ve enjoyed the threads that we had, even though they were rather short-lived. I hope we’ll get to RP more in the coming year, I really want to see where things will go, especially with that thread between Reiko and Jo’on.

I know you’ve been struggling lately, feeling like what you’re doing has lost it’s appeal, and that you’ve lost touch with those who you once interacted with frequently, but I don’t think that’s the case. Everyone has been really busy lately for some reason, many people that were once frequent on the dash are active less these days, and it’s sad to see, but I don’t think it’s that they have lost interest in what you do. I for one haven’t, and I never will. You’re a joy to see on the dash and I hope you’ll come back and RP here more. I definitely want you around, and I’m sure others do too. So please, believe in yourself, I’m sure you can do it.

You’re such a great person. So friendly and welcoming, always cheering everyone on. You told me you swore to be that positive light for others, no matter what it takes, and that’s something amazing. Something I would never be able to do. I hope you won’t burn yourself out, because giving so much is a hard thing to do, especially in an unkind world. I hope you don’t give up, that you keep going and striving to be who you want to be. If you ever need someone to talk to, I’m always here for you.

Thank you so much for being such a fan of Ivalinne’s story. When you told me that reading my writing, reading my story, motivated you into writing, I was honored. That my writing could have such a profound effect on someone, it’s unreal. I’m happy you enjoyed it and I hope you’ll continue to read as I write Eliyah’s story and more.

@fxtelism

Dennis, you’re a good friend and I’m grateful to have someone I can confide in about the things I can’t tell anyone else. You’re nice, friendly, and easy to talk to and get along with. I really appreciate your company.

Thanks to tumblr eating the notifications of our threads at every turn, we haven’t made much progress RP wise, but hopefully that will change in the coming year. I want to see more of your characters and get to know them, get more interactions, and develop our muses further. Leon is really sweet and it’s adorable how much of a flustered mess he is, it’s great. Soft boys are good! Manifestation is very interesting, an opposite to the kind and friendly person who he was created from. I’m curious to see where things could go with both of them. If just tumblr would stop eating notifications.

Now then, Ivalinne’s story. Thank you so much for reading. You have no idea how much it means to me. When you were reading and mentioned that one thing, I was so excited to see you get to the end. Having someone realize and notice things really is great. Probably the best feeling I’ve ever felt. I hope you enjoyed her journey and will continue to read the stories I’ll tell in the future, because I’ve got plenty more to tell!

@echointheforest

Marii, you’re a great friend, and thank you for all your support. You’re so welcoming and easy to talk to about literally anything. I never feel awkward talking to you about things, even though I sometimes worry I bother you too much.

ReiMarii is love, ReiMarii is life. I adore our ship. It’s the first ship I’ve ever had, and it’s been amazing. Thank you so much for introducing me to shipping, I’m so grateful for it. Shipping is so much fun, so full of feels, and I love it. I hope shipping with Reiko hasn’t been too angsty for you, it seems that no matter what, everything comes up bittersweet, and I hope that doesn’t upset you. I love how Reiko and Marii are together, it’s adorable. Everyone else only sees the surface, the bitchy exterior that woman presents to the world. and they  write her off as that being all there is to her. But there’s so much more to her than what’s on the surface, and exploring all that lies beneath it with you has been one of the greatest pleasures of this past year. Every interaction has been wonderful, I love every minute of it and I hope we’ll continue to interact more in the coming year.

I know you worry a lot about whether you’re a good RP partner, and while I’ve already said my piece on it to you, I’ll say it again. You’re a great RP partner. You’re in no way a shitty RP partner. You’re a joy to write with and I love interacting with you. Life has been hectic for you recently, but I hope it will calm down, so you don’t have to be so stressed and exhausted all the time. You’re a great person and you deserve the best. I hope we’ll continue to be friends and continue to interact through next year as well.

You’re the first person, and so far the only, to see Reiko’s core. You’ve seen a side of her no one else has experienced. Marii’s touched her heart, reached through the ice and rust and connected with her on a level not even she thought was possible anymore. If things continue the way they’ve been going, she might even end up telling Marii about her past, so I hope we’ll get to explore more and more of their relationship, sink the claws of love deeper into her heart. Maybe Marii can make her realize that being who she is isn’t as bad a thing as she thinks it is, maybe she could help her to accept that she’s not damaged or broken beyond repair. That she’s worth the love the youkai has given her. I want to see it, someone be able to reach her, to tell her it’s fine.

So I hope we’ll continue to write in the coming year, that we’ll continue to develop this tender, beautiful relationship between dark and light, because I’m excited to see where it goes. How deep it will get and how close they’ll become. The future is bright, and hopefully Marii can teach Reiko that as well.

@johnny-writes

Johnny, I know your retirement date is quickly approaching, and I’m sorry I haven’t fulfilled what I promised. I said I’d put priority on our threads, but I failed to deliver, and I apologize for that. I wish we could have had more threads, that I had met you sooner so we could have done more. It saddens me that soon, we won’t get to write together anymore. I’m going to miss you as an RP partner. I hope we can continue to be friends though, even if you’ll be leaving the RP community.

I know Mara and Tojava weren’t exactly planned characters for you. They were created from a meme and it all started from there. I like both of them, the concepts and tropes they’re meant to explore. I was looking forward to you writing their story, and though you got derailed during NaNoWriMo, I hope you’ll continue to work towards the completion of their tale.

The thread between Reiko and Mara was a very interesting one. I’m sorry my bitch of a muse made Mara cry, she didn’t deserve that at all and I still feel bad about it, but I enjoyed the thread nonetheless. Feels are fun, no matter what form they come in. The thread between Ivalinne and Kazuma was fun too, it’s a shame it won’t get to continue to the ending I had planned. It would have been a chance to show Ivalinne is more clever than most probably assume due to how most of her threads have gone. It’s a shame it will never come to pass.

Speaking of Ivalinne, thank you for reading her story! I appreciate your interest. When you told me you got hooked after the first two parts, I was overjoyed. I’m glad you liked it, and I hope you’ll continue to read Eliyah’s story as I write it.

You’re a good friend, a logical voice of reason, and I’m grateful for that. I know I’m not always the most reasonable person out there, but it really helps when there’s someone that can talk some sense into me. Thank you for your support this past year. I’ll miss having you around on the dash, sending asks in to my characters and I’ll miss seeing your characters around. But just because they aren’t around doesn’t mean that they don’t exist anymore. I look forward to seeing the story you tell with them, and I wish you all the luck with your plans for the future.

@geisthonoredferry

Koma, we’ve only met recently, but honestly you’re great. You’re so supportive of everyone, what with your little handwritten notes to people and all the positivity you spread, you’re a great influence on this community. This place needs lights like you, people that care about others and support them no matter what. You’re a blessing and I’m happy to call you my friend.

I hope in the coming year that we’ll be able to get some more interactions going. My motivation to write has been very low recently, and I’ve been overwhelmed by the sheer amount of drafts I have, but I’m not gonna give up! I’m going to reply to everything and keep moving forward.

Thank you for reading Ivalinne’s story, I’m glad you liked it and I hope that you’ll continue to read the things I put out and enjoy them all the same.

I really appreciate how much you care, how you check in on me to see how I’m doing, how you send positive little messages in the server and how you’re always doing your best to spread that cheer. You’re great, really. As both a writer and a friend. Though you should really stop lying to people and saying I’m cute. You’re the cute one here, not me.

@weaverstale / @draconianmyths

Kirbs, you’re great, don’t let anyone tell you otherwise. You’re so caring and compassionate, always concerned for everyone else and supporting them with positivity. Thank you for your support. I do appreciate it, really, even if I believe myself unworthy, it does make my day better. Don’t ever stop being that way.

We’ve both been low on writing motivation lately, and that really sucks. I want to RP more with you. Orochi is very interesting, and my dumb thot of a muse can’t resist an attractive man. Or an attractive women, as Konoe proves. She really just can’t resist attractive people in general really. I hope going into the next year that we’ll be able to have more threads and interactions.

You’re a good friend and you’re easy to talk to. I know at times our...interests in conversation topics just don’t always match, I apologize for that. I am but a shy nervous bean, naive and innocent about such topics. Regardless, I do enjoy talking to you, and I hope we’ll continue to be friends in the future.

@magicaldreaming​

Xana, I know we’ve only become mutuals recently, but I’ve really enjoyed speaking with you. I love hearing about your OCs, it’s fascinating. You’re easy to talk to and really chill, and I appreciate that. I hope we’ll continue to talk and be friends in the coming year.

As for RPs, you’re an amazing writer with some amazing muses. Krolia was one of the first I seen, through your threads with another blog I follow. Krolia immediately caught my eye, she’s very strange in a curious and interesting way. She’s an ancient being with a love for modern technology, idol music, and junk food, and it’s adorable.I really want to have a thread with her someday, once I manage to get my draft situation under control. I hope to see more of her, she’s really interesting.

But probably my favorite muse of yours currently is Celia. I read along with her threads in Redbellion, and honestly, they were my favorite. I love her journey throughout the event, going from an emotionless killing machine intent to cleanse all biological life from the universe, to realizing the true beauty of life, and realizing she had set in motion the destruction of an entire galaxy full of it. How she fought so desperately as the end of all was looming over her, how much she regretted what she had done, and how badly she wished to right the wrongs she committed. How she gave her all to save people. to protect them from the menace she had unleashed, and how she gave her life, her light, in order to save everyone. The woman that once sought to exterminate all life sacrificed her own to save what remained, and that is beautiful. I teared up when she started to fade into slumber and go dormant. You did an amazing job building up her character and her development was spectacular. I look forward to see where she goes from here, now that her outlook on the world has so drastically changed. With any luck, I’ll regain my motivation and be able to see that hope through with our thread!

All in all, you’re a great writer, never doubt your talent. It really shows a writer’s skill when they make you feel for and root for an evil character. That’s so much harder to accomplish than simply having the reader side with the hero. Any writer that can do that has my respect, just as you do.

@fragmentedsilhouette

Sage, I know you’re not really on tumblr much anymore, but I’m going to list you here anyways. You’re a good friend, calm, easy to talk to, and your company is enjoyable. I should really talk to you more.

I miss seeing Amaeris on the dash, she really was a great character. Well thought out and of questionable moral standing (Wait a second most of the characters I’ve spoken of here have been that way...Do I have a thing for that type?!) A shadow of her former self, literally. A deceased ruler of an ancient empire aiming to regain her former glory and rebuild her kingdom anew, so that she may reclaim what she had in life. You put a lot of thought into her and I wanted to see where she would go, if she’d ever be able to take back what was taken from her.

I hope one day we can write together again. The brief instances when we did were enjoyable. Maybe sometime next year? Who knows, but one can hope!

@moonternity

Lilli, we may have never gotten to RP on tumblr, and we might not have RPed all that much in general, but I think you deserve to be mentioned here as well.

When we first met two years ago, you hated my guts and told me straight out. I admired that honesty, since honesty is something I value. You gained my respect by being so honest about your feelings. I wanted to be friends with such an honest person, someone who wouldn’t lie to me and who’d tell me flat out if I fucked up. So I wanted to win you over, and as you know, I did, and that made me so happy.

I’m glad to be your friend. Happy that you want me around. It means a lot to me, truly. I enjoy your company, the fun we’ve had with the campaign, and even just talking to you. Thank you for being my friend, for giving me my first D&D experience, and for just being you.

---

And thank you to all my followers, both on the RP Side Blog where I actually do all of my writing and to all the followers here, whether you’ve just followed the wrong blog or not! Thank you for your support! I hope I can continue to write more and more in the years to come!

Happy New Year to you all!

[imaginativecrime]

7 reasons The Witcher series is a mess (or damn I need to vent)

Unpopular opinion time! For the record, I’ve read the books, played the games, hell, I’ve binged the Polish movie and series (because my love for Michal Zebrowski and Zbigniew Zamachowski is undying, sue me), and I was super hyped. Then I spent the entire series yelling at the TV, so I made a handy numbered list of the reasons why I personally consider it mediocre at best.

Because I’m fucking disappointed and I’ll never not be bitter about it. Fact.

Be warned, there are all sorts of spoilers below.

Let’s look at some of the issues that affected the show as a whole:

1) Adaptation is hard work - but you have to do it right

Adapting a story from one medium to another is difficult, you inevitably have to change things to make it suitable to the new form of expression and also, everybody wants their adaptation to be unique, to emphasize points they think are important, to reflect on the current times, you name it. But changes in an adaptation should make sense and lend themselves to the storytelling.

Many changes in the series were arbitrary, nonsensical and contributed absolutely nothing. One such example is the Battle of Sodden Hill, a terribly executed “siege” with not enough extras to fill a classroom instead of a battle of 100 000 people. Writing out Redania, Aedirn and the Brotherhood of Sorcerers from the conflict doesn’t seem to have a point to it, while the delayed arrival of the armies of Temeria and Kaedwen is both unexplained, unlikely and underwhelming, not to mention that it completely undermines the Nilfgaardian threat as a whole. This, of course, is just the tip of the iceberg of all the things that are wrong with Sodden Hill in the series. 

Or take Foltest and his affair with Adda. It is perfectly clear in the books that after seven years of wizards, witchers and all manner of frauds coming and going while Foltest is obsessed with breaking the curse instead of killing his daughter, even the very last blind and deaf peasant knows about his shenanigans. It’s only logical, too. The story is relayed to Geralt in no uncertain terms at the very beginning. Now in the show the whole episode is too short to set up a murder mystery that requires Geralt’s incredible detective skills (uhuh) to unravel. What is worse is that you cannot make a big reveal of something that your audience actually has previous knowledge about. So why even bother to have Foltest deny it and have Geralt beat it out of Ostrit? 

Which brings us to point two:

2) We all know which way to Temeria, don’t we?

Even if you have popular source material, you cannot expect everyone to know it. An adaptation has to consider people who are just getting their first introduction to the sandbox. When your lore is as rich as that of the Witcher, you need time and careful effort to set up your world. The show made a total shit job of this one. As in the above example, sometimes the show ignores that we, as an audience, know things. 

Another example is Vilgefortz. We know him, his plans, abilities and allegiances, we have very specific expectations of his character. Besides completely failing these expectations (and doing a very unconvincing early reveal of his true colors), the show goes as far as taking Vilgefortz’s iconic sentence (You mistake stars reflected in a pond for the night sky.) and putting it in Fringilla’s mouth. Like did they actually think we wouldn’t notice? Or not be pissed?

At other times the show expects us to fill in its glaring blanks exactly by knowing our lore and characters. One obvious, overarching example of this is the issue of the separate timelines, that sometimes left even fans a little confused. Also, fun fact: one of my friends (who has no idea about anything in the Witcher’s world) for instance needed some time to realize Pavetta wasn’t, in fact, a grown-up Ciri, and he remains to this day very confused about Blaviken.

Basically, we are on a swing here, which is actually made even worse by another thing: bad pacing.

3) Hold your Roach for a moment

The first season wants to cram too much into its limited time and it has a severe negative impact on worldbuilding and character development. By bringing in all three timelines from the beginning, the show has to juggle time allotted to each. 

To be frank, Ciri’s timeline at this point consists of a lot of running and screaming, which in itself hardly merits all the time we spend with her. It could have been utilized in part to provide us with a view of the war from ‘below’, to show that beyond the high politics and heroic battles there are burned villages, dead peasants, people who lost everything, cripples, deserters, ruined fields, and so on. Instead, we get one refugee camp of neat tents, actual beds, food and complaints about Calanthe (though not of dead husbands, lost homes or winter). Though I guess it should come as no surprise that the shock value of paint being made from a woman’s reproductory organs (that never happened in the books) is more important than actual large scale human suffering.

Now giving Yennefer an extended back story is great. But by that level of extension once again time is being consumed that is taking other opportunities away. Opportunities like giving Geralt himself a bit more background, clarifying points for fresh faces in the audience, giving characters more time for meaningful interaction. Because there is not enough time to let the story breathe and progress naturally, episodes are often rushed, choppy, and shallow. 

4) Reverse worldbuilding, aka welcome to nowhere 

Another serious issue with worldbuilding is what I suspect to be a deliberate departure from the game visuals and aesthetic. One of the things I adore most about the games is that it built heavily on Eastern European history and folk tradition. Nothing compares to the feeling when you ride into a village and you feel right at home because things are inherently familiar, or you go out into the woods and hear the exact bird song you are used to.

Netflix is very careful not to even offer a whiff of this particular identity to its show, but it doesn’t seem to have a clear artistic vision beyond that. Thus while landscapes are nice enough, other settings such as cities, taverns, ballrooms and the like are horribly bland in that “this is how we imagine the middle ages in Hollywood” way and look exactly what they are: sets. While one is not likely to quickly forget the red rooftops of Novigrad or the wild beauty of the Kaer Morhen pass from the games, there is nothing memorable about the locations presented in the series. (Even more bewildering is the depiction of the elite boarding school of Aretuza as a creepy dungeon with elf skulls everywhere. I cannot even begin to address this one unless it is all in caps.) 

Point being that the show lacks an actual visual identity that would distinguish it from any other dime a dozen medieval fantasy.

5) My kingdom for a decent wardrobe

Sadly enough, the bland and flavorless visuals have a terrible effect on something else: clothes and armor. While some costumes are well done, there are way too many examples of the opposite. One very obviously is Nilfgaardian armor, which looks like fossilized trash bags with sad dick helmets. The fact that armor in the show is treated as the equivalent of cardboard is doing no one any favors. Please do your homework next time. Please?

Another inexplicable departure from the books and games is the appearance of the nobility, and most jarringly, sorceresses. That dress Yennefer picks out the first time? It’s literally the drabbest, ugliest thing I’ve ever seen, and the others are not much better. When it comes to period-accurate choices, the range is just so wide: we are talking cambric, velvet, silk, cloth of gold and silver. We are talking luxurious furs, embroidery, colorful feathers, bright dyes, coats of arms and jewelry. Brooches, necklaces, bracelets, rings, hat badges, belt buckles, hairpins, you name it. People wore their wealth. Making them look like sad orphans will not make them look any more medieval.

Peasant clothes also had their decorations, though to a lesser degree than nobles, obviously. But I guess it’s too much to hope that those would get any attention when queens are dressed like they lost a bet.

6) I see your people and I raise you mine

Including people of color in the casting choices caused a lot of heated debate amongst the fans, but at least it means that the show cares about minority representation, right? Right?

The world of the Witcher has its own minorities, and what we have seen of them so far is so incredibly pathetic that I haven’t the words. For one thing, they look so terrible that elves in the Polish series actually look better, and that was so not a high bar to exceed. To make matters worse, they again seem to lack any sort of distinguishing visual identity (except for the Dryads. I’m also willing to make an exception for Chireadan, as he actually looks right and he’s a settled elf.)

Sadly, unlike the games, the series also fails to establish even the beginnings of a compelling narrative for its minorities, which definitely needs to be in place by the time Thanedd happens at the very latest. What is more, we seem to be given something called the Great Cleansing, which is plenty obscure but comes across as a Night of Broken Glass sort of thing (though that could be just me). While still salvageable at this point, this shift in narrative is cause for some concern, and so far doesn’t make much sense.

7) Your villains are not my villains

Unlike the books and games, the Witcher series sadly doesn’t seem to excel at presenting opposing sides without the need to vilify one (which again, makes me worried about what they are going to do to the Scoia’tael later). 

Nilfgaard is now an Empire of Evil (TM) that lives for killing and religious fanaticism, Fringilla is a psychopath, and Cahir... Well, Cahir is a thousand shades of wrong all on his own. Stregobor and Istredd are now assholes of a whole different caliber, and even poor Eyck of Denesle gets to enjoy his five minutes of fame as a madman frothing at the mouth instead of a paragon of knightly virtue.

This is going so well.

[lupinepariah]

Jormag is Such a Mood

As I wait for episode 3 I feel like I'm twisting in the wind as I worry that ArenaNet might let me down with the coming story. I hope that this is the turning point for them that I wish for, where they'll stop relying on cheap shlocky shock value to tell their stories. After a while, it's easy to feel numb and cold towards X or Y character that one cared about dying because you sort of expect it. It's an unnecessary amount of suffering and death.

There's been an ongoing shift in the stories they've been telling and a strong message regarding mental health interwoven within. It covers topics like invasive thoughts, trust, and how we suffer because we're too afraid to talk (let alone talk to one another). I think that these messages are important and more relevant now and to their contemporary audience than ever before. Kralkatorrik's torment was a literal representation of the suffering that invasive thoughts can cause, it was also almost a treatise on how to combat them too with Kralkatorrik challenging them by stating the truth whenever they spoke, supported by the Commandrer and Aurene. It's just a shame that Kralkatorrik had to die.

I get why he did and that's not a bad message either. If a person is in an extreme amount of pain then allowing them to end that pain is compassionate and empathetic. In doing so, they humanised Kralkatorrik and completely changed how the Elder Dragons are perceived. In that moment, everything was made anew and they could tell stories with their dragons that they would've never had the chance to before. There might be other dragons out there who're decent people, or those who're just being tormented.

With Jormag, they remind me of a frustrated therapist. I mean, frankly, that's exactly what they remind me of. "Maybe you should listen."

What they're doing with the Commander is necessary to help those with cognitive dissonance to reach the same conclusions but it's also a frustrating bout of dramatic irony. The player's character is being stubborn, foolish, and quite frankly dumb. I appreciate what they're doing though, if indeed I'm right. I mean, they built up the trust with Aurene so that Aurene can convey things to the player. Not the player character, the player. Bangar, for example. Aurene told the player that there's no purpose in killing Bangar and that I find especially pertinent. This is why I have so much fragile hope.

Jormag sounds like someone who genuinely wants to help. Yet they're misunderstood, demonised, typecast, and no one wants to listen to what they're actually saying. Worse for them is that in the narrative there's a proper mind controller at play—be it Abaddon, Jormag's torment, the deep sea dragon, or perhaps even all of the above—and that isn't immediately clear to the player. You need a good sense for intrigue plots and general observational skills to pick up on that.

Anyone paying attention would've noticed how Jormag is constantly telling everyone that they want to talk, not fight. They're asking questions. They're being persuasive. What they're doing isn't mind control. Yet what happened with Rytlock and Crecia at the end of episode 2 was mind control, it was outright mind control. That isn't Jormag's power. What's even more odd about that is how they yelled about their voices not being their own, Jormag has no reason to broadcast that through them. There's more going on here.

There's so much frustration and anguish in Jormag's voice. I have to give it to the voice actress of Jormag for pulling that off so successfully, and to ArenaNet's sound direction team too. I mean, it's unmistakable. If you know what you're listening for, Jormag sounds very, very frustrated. They really want to help, they want to get you to listen because you don't know what's going on. They're just so opposed to suffering and that's something they reveal to you plentifully in their whispers.

I mean, look at how everyone needs therapy! I will harp on this because it's relevant.

Rytlock — He's always running away from his partner and son to find ways to be worthy of them without realising how worthy he is. This is why he tells us in Path of Fire that he needs a win. He's obsessively looking for ways to overcome his own self-esteem issues, Rytlock has very poor confidence and a lot of invasive thoughts regarding his own self-worth.

Crecia — From Crecia's perspective, Rytlock ran because he's unreliable and afraid of responsibility. She also questions whether she had any part in it, whether it was her fault that it happened. This has left Cre with some fairly bad abandonment issues and codependency, she's looking for anyone to be her rock and to help provide her with safety and emotional stability. Someone who won't run away, basically. This is something that Bangar is exploiting for his own benefit.

Braham — He's made a lot of mistakes. The spirits distrust him, he's been too cocksure and egotistical in the past and it's gotten him into trouble and each incident has only sullied his reputation further, and on top of that he has serious mommy and daddy issues. Yet he's a big, strong norn! He's a meaty meat-shield, he can power through anything. He doesn't have any need for emotions. This is why he's always falling to pieces and anything that the Commander does is just putting a band-aid on it and little more.

Marjory — In her relationship she has to be the strong one, she's taken it upon herself to be masculine in order to protect Kasmeer. The problem with this is that she's not facing her past or even talking about it. There are things in her past, deaths, that haunt her. Such as that of Belinda whom she's unable to let go. If you don't talk about your losses, you can't ever let them go.

Bangar — Riddled with feelings of inadequacy. He feels as though he's the least successful of the imperators who've all achieved greater things than he has. Smodur and Malice played a greater part in the treaty, after all, which Bangar stood against because it was Smodur's idea. Bangar is strongly opposed to Smodur as Smodur is the successful charr imperator that Bangar has always wanted to be. He wants to be important, to be remembered, and this has driven him to want to be Jormag's champion. Furthermore, his cognitive dissonance has fed into xenophobia. Since Smodur wanted a treaty, Bangar's hatred of Smodur festered into fears of what humans might do to the charr again, given the chance.

Ryland — Daddy issues. Daddy issues. He's Mr. Daddy Issues. I mean, he has a technological version of sohothin. Did anyone else notice that? There's so much in the way of daddy issues here. He recognises that his father is incredible but he feels like his father has no value for him, that nothing that Ryland could do would ever, ever be good enough for the great Rytlock Brimstone. He's turned to Bangar because he needed a father figure, he needs someone who'll be proud of him.

This is why Guild Wars 2 is driving me crazy right now.

I mean, we have a bunch of characters who're desperately in need of therapy. We have a game that's had some generally positive messages about mental health. On top of that we now have a therapy dragon who's just so frustrated that no one's listening to them, because all they want to do is help ease the suffering. They're tired of suffering. The culmination I'm hoping for is that we end up with Jormag on our side because that would make sense narratively. It's where they seem to be heading.

I mean, if we had Jormag with us? All of these poor babies could get therapy. Between Aurene and Jormag they could finally get the help they need. They all need to talk! This really NEEDS to happen! This is why it's so frustrating because I share Jormag's frustrations. I've encountered so many people in this real world of ours who need help, who need therapy, yet they snub this advice because they feel it suggests there's something flawed about them instead of realising that every living person needs therapy sometimes.

Tyria needs a source of therapy. Jormag freed from their torment would be an amazing way to handle that. I mean, Fraenir called it the Age of the Dragon. I want to see that! I'd love for there to be a Grand Dragon Council or somesuch, where the kindly dragons free of torment congregate to discuss how they might best help Tyria. Each dragon has something they could bring to the table. Jormag has therapy. Which Tyria needs so, so badly.

Plus, it would further the positive messaging about this topic. I want ArenaNet to please, please do this. It'd be an amazing way to tell people that therapy isn't a dirty word. Jormag is so perfectly suited to fit that role. I mean, everyone loves Jormag anyway and no one wants them to be evil. I don't think any Elder Dragon beyond Aurene has had the kind of following in the fan community that Jormag's accrued. They're incredibly popular.

I'm not going to be childish and dump the game if Jormag ends up being a reductivist moustache-twirling villain but I have to speak about this. It would be so, so disappointing and it would stab all the good messaging they've done regarding mental health in the back. It would undo the good they've done. Plus, it would make very little narrative sense. I mean, we're supposed to be easing off of this whole MURDER EVERYONE thing, after all. We know that killing Elder Dragons just makes everything worse. So why not let Jormag live?

Guild Wars 2 is dangerously close to becoming my favourite game. It's just time for hope to shine through the darkness. There's been enough death. There's been enough murder. And there's certainly been enough suffering. It's time for things to change. The best way to indicate that would be to have Jormag join forces with Aurene.

Then Dragon's Watch could get the therapy it needs, along with Bangar and Ryland.

So many people in Tyria need therapy.

Maybe they should listen?