#and the handling of female characters is MUCH less egregious

[froschli96]

you know, i always find it really funny when dudebros complain about syndicate and odyssey being too "jokey" or not "taking its characters seriously" or whatever…

like, did y'all collectively sleep through "it's-a me, mario!", "i meant besides vaginas", ezio inventing the latte, bartolomeo's... just... *gestures vaguely* entire character, etc?

like, it's fine to have preferences of course, i myself prefer a more serious and grounded tone, but these are usually the same people who tout the ezio trilogy as "peak assassin's creed", call ac1 a glorified tech demo and hate on connor for being "too serious and boring", like? make it make sense!

[daiziesssart]

a humiliatingly long character analysis of lily evans

Someone sent me an ask that briefly mentioned how misunderstood Lily is, and before I knew it I was typing out this monster. I am. sorry. This is literally just me rambling about her, what I find compelling about her character, and why her character is so often misunderstood.

This is long as hell so I'm putting it under a read more lolol

Part of the reason I like Lily so much (other than my being ginger and projecting onto any redheaded female character I see) is that even though she isn’t explored as much as her other Marauders Era counterparts, we know enough about her to start building the framework for her character. And what I see is a girl who was incredibly interesting, kind, and flawed.

One thing I always think about in regards to Lily is that she was dealt with a pretty unfair hand. As soon as she receives her letter, she’s basically torn between two worlds, both of which have been less than welcome to her. On one hand, we have the muggle world that she’s known all her life, but once she starts integrating into the wizarding world, she likely feels a bit of a disconnect with that world. To twist the knife further, her sister- whom she loved dearly and grew up so close with- starts outwardly resenting her with such unbridled hostility that they likely couldn’t even be in a room alone together without major conflict. 

On the other hand, we have the wizarding world– a world she’s not as familiar with and one she soon learns holds a demographic of people who hate everything she is and would rather see her excommunicated or even dead. And even though finding out you’re a witch/wizard is probably such an exciting and life-changing moment, I can’t help but also take note of the difficulties, especially if you’re the only one in your family with magic. You’re essentially uprooted from the only way of life you’ve known at an already complicated age, and now you have to quickly become acclimated to this new world that you only just found out existed. Not only that, but now you’re suddenly attending a school with classes that are primarily focused on this world of magic (which is still brand new to you), and you have to work extra hard to play catch up in order to do well. Like, that all seems like… a lot for a kid to handle.

And then I remember how young she was when she was thrown into that mess. She was only 11, and kids that age desperately crave any sense of belonging. I mean, that’s something that still holds true for adults, but it’s especially critical for a developing child. So imagine Lily, ages 11-15, struggling to stay afloat in this weird purgatory between these two parts of herself, both of which have been the cause for major and traumatic experiences relating to rejection in her life.

(I say it was the “cause” even though it’s obvious that those things were never her fault at all, but when you’re a young kid navigating the world, the only thing you’re able to process is that the common denominator is you, therefore you’re the one who must shoulder the blame.)

So now we have this tween-teenaged girl who has a dysfunctional relationship with two major parts of identity and probably feels absolutely lost. 

This is why her hesitancy to end her friendship with Snape makes sense to me. Even though by fifth year he’s already well past toeing the line with the dark arts, Lily was willing to overlook some pretty egregious and troubling things in order to maintain the relationship. I kind of interpret that as her way of desperately clinging on to any sense of belonging she has left; her relationship with Petunia has already been poisoned, and now there are people who resent her existence as a witch; if she loses Severus too, what and who else does she have? And what tone does that set for her, if everyone and everything she’s come to hold close to her ends up turning her away?

It’s also important to note that not only is Severus one of her few remaining connections to the muggle world, but he’s also a wizard who grew up in the muggle world; he understands her, and I don’t doubt that he gave her some stability at times when she needed it (her finding out about her being a witch, her having trouble acclimating to the wizarding world, etc).

I see this as being one of her flaws and I can actually appreciate how relatable and realistic it feels. Lily is not a bad person; on the contrary, you’d be hard pressed to find anyone to describe her as such. Not to get all clinical and boring, but the interesting thing about (unhealthy) coping mechanisms is that it can actually be really hard to identify them in your own behavior. Unless you’re in therapy and/or are actively psychoanalyzing yourself, you likely don’t even realize how many of your common behaviors are born from self defense mechanisms put in place by your brain after past events.

To me, it makes sense why she avoided actually confronting the idea that Snape was too far gone. We know that she was aware of the path Severus was taking, but it almost seems like she was still convinced that she could save him, and could possibly steer him back in the right direction. It’s only when she becomes the target of his bigotry that she realizes that the Snape who called her a ‘mudblood’ was not the same Severus who was the one who held her hand and introduced her to this new, exciting world.

In a general sense, yes, it is selfish, to only take a stand when something starts affecting you personally. But I also think it’s important to note that it’s unlikely that this was a conscious decision on Lily’s part. In my eyes, it was easier to delude herself into thinking she still had a chance to save him before it was too late when she was able to separate him from his actions (considering, a lot of the time, she was only hearing about them after the fact, rather than seeing them firsthand). But the elusion is shattered once she sees that the Snape she grew up with– her friend, Severus– is, in fact, the same person who’s out there calling other students slurs, dismissing the malicious use of Dark Magic on others as just “a laugh”. There we see a Lily who is actually revealed to have been somewhat aware of Snape’s involvement with the darker side of magic, and genuinely feels pretty ashamed about her inaction.

Also, this is in no way me being a Snape-anti, and I actually could do an entire separate analysis on his character alone and why I find him so interesting.

Anyways, that moment in SWM is probably somewhat of an epiphany to her. It’s like a dam that’s been broken, and now she’s overwhelmed with the realization of exactly how much she overlooked in order to keep their friendship afloat. And for someone like Lily Evans, someone whom we know is opinionated and unafraid to call others out on their bullshit, that can be hard to swallow and feel pretty mortifying and shameful. And I think this was a huge turning point for her- at that point, she doesn’t have the luxury of avoiding uncomfortable truths anymore and now that she’s getting closer to graduating and being thrown out into the world on the brink of war, this was probably a really sobering discovery.

This is where we don’t have as much info to go off of, and a lot of it is up to interpretation. But we actually have little crumbs to go off of following her graduation and leading up to her death.

One of my favorite little tidbits isn’t in the books, and @seriousbrat's post reminded me about it. Here's the actual entry on Pottermore for anyone who's interested, but I'll summarize: after James and Lily began dating, Lily brings James to meet newly engaged Petunia and Vernon. Everything goes downhill, because Vernon is a smarmy asshole, and James is still pretty immature and can’t help but mess with him (which… fair, I guess). Petunia and Vernon storm out after Petunia letting Lily know that she had no intentions of having her as a bridesmaid, which causes Lily to break down into tears. I mention this because I also think it’s a pretty important aspect of her character; like we’ve seen in her past friendship with Snape, Lily seems more than willing to forgive others most of the time. Petunia is a bit of a complicated character herself, but she was objectively very cruel and unfair to Lily once it became obvious that she was a witch and Petunia was not.

Something that always stands out to me is just how desperate Lily is to earn Petunia’s trust and approval again. Even up until her death, she was more than willing to mend the relationship, were Petunia ever to consider. 

This is a detail about Lily that I feel is misunderstood quite a bit. I’ve seen a lot of instances of her character being reduced to a one-dimensional archetype with little to no complexity. And often, that archetype is “know-it-all, prudish, self righteous bookworm who is also a goody two-shoes with a stick up her ass”. What annoys me is that the reason for this is most definitely the scene in which she blows up at James in SWM for bullying Snape, and hurls quite a few insults at him directly after an extremely devastating and overwhelming situation for her. This frustrates me because we know for a fact that she’s the polar opposite of this archetype I’ve seen her reduced to. 

In actuality, she’s referred to as popular, charming, witty, bright and kind. From flashbacks we also are shown that she’s opinionated, bold, and not afraid to challenge others. With other context, like her interpersonal relationships, we can also see that she’s pretty emotionally driven and wears her heart on her sleeve. 

(I know Remus didn’t mention Lily much in the books, but I really love how he described her in the movies. He tells Harry that the first thing he noticed about him was not his striking resemblance to his father, but his eyes, the same eyes Lily had. He also calls her a “singularly gifted witch” and an “uncommonly kind woman”.

“She had a way of seeing the beauty in others, even and perhaps most especially, when that person could not see it in themselves.”

I know there are mixed feelings on whether or not the films count as canon source material, so take it with a grain of salt, but I personally cannot see a world in which Lily and Remus didn’t become close friends.)

Here we have a direct description of what she was like and who she was, corroborated by recounting of memories of her, and yet for some reason, this feels like the thing that is most commonly lost in translation.

I don’t think I can say why I think that is without mentioning the dreaded M word (misogyny- it’s misogyny), but I also don’t want to get too off topic so I’ll be brief: female characters are typically not given the same grace as male characters. When we have an undeveloped male character, he’s awarded the assumption that despite his lack of depth, there still exists a complex and multifaceted character– it’s merely just potential that hasn’t been tapped into. Whereas when we have underdeveloped female characters, they are taken at face value, meaning that not much exists beyond the little information we have of them. They are not presumed to have a life or a story that exists beyond the surface of what we know like male characters are. That’s why I think characters like Regulus, Evan, or Barty (just to name a few) are more popular than Lily, despite being less developed than she is.

(Before anyone gets defensive, no, I don’t think it’s an individual problem that you alone need to be shamed for. I think it’s the result of a deeper issue regarding misogyny in media as a concept; these are things that we’ve all unknowingly internalized and while it’s not our fault, we still have to do the work to deconstruct those learned prejudices.)

What I find really cool about her character is that despite how much she’s been hurt, she’s also still known as one of the most loving, kind, and considerate characters. There were so many times in her life where the love she received was conditional and ripped away from her– and I think that’s what makes her sacrifice even more poignant. She was able to protect her infant son from an extremely powerful dark wizard, wand-less, knowing that her husband was just murdered in cold blood, just from how much love she felt for Harry. Her love was a force of nature on its own, and I just think that’s such an amazing thing about her. 

I know I’m biased, given that she’s one of my favorite characters, but even upon delving into this, I still just find it so incredibly hard to understand how anyone can actively hate her (not indifference, but actual dislike). In my opinion (again, no one is unbiased, and she is a favorite character of mine, but trust me when I say that I’m trying to be objective as possible when I say this), she’s probably one of the most likable characters of the Marauders Era. I think perhaps a lot of people haven’t given her a chance or really taken the time to learn about her character, but it could be a myriad of other reasons that I’ll never understand. 

There's so much more I could say but this is long enough and I will stop myself

Lily Evans, u will always be famous to me

[mahoutoons]

no, the sailor moon 90s anime is not more feminst than the manga

i've seen people herald the 90s anime as this beacon of feminism just because it focuses on the relationship between the inner senshi instead of usagi and mamoru's relationship. there's this idea that the manga being more about romance makes it inherently less feminist than the anime. but i want to shut that idea down.

people keep circulating these three screenshots to prove the 90s anime is this feminist masterpiece

but just a scene prior in the SAME EPISODE, rei calls usagi ugly COMPLETELY UNPROVOKED

yes there's teasing between friends but come on. usagi didn't even do anything to warrant being compared to a monkey.

and speaking of rei... she's so heavily lesbian coded in the manga. literally her nightmare in the dream arc is getting married and settling down in the trad family sense. which she destroys with her akuryo taisan like the lesbian queen she is. also her distrust of men is a big part of her character in every adaptation... except the 90s anime which made her boy crazy and have that plotline where she gets with mamoru for a while for the sake of a rivalry with usagi!

there's the whole jealousy thing with chibiusa which is honestly weird no matter the adaptation and idk why ANYONE thought that was a good idea. but its somehow WORSE in the 90s anime. at least, at the very LEAST in the manga she actually communicates with mamoru about her insecurities and the whole jealousy thing only lasts in the black moon arc (which continues staying the worst arc regardless of the adaptation). in the anime... it lasts well into the end of supers... TWO SEASONS after usagi found out chibiusa was her and mamoru's daughter!

and lets talk about how they made usagi jealous over small things in supers! look i get it, she's a teenage girl and she gets jealous easily. but when you get jealous of a child who is also your future daughter and an old woman your boyfriend tried to help, that's when you have issues. there's an entire fucking episode where she stalks rei just because mamoru is staying at her house for a day!

and the most egregious thing which makes me laugh at any claim of the 90s anime being much more feminist than the manga.. is how they handled prince demande. you know, the guy who kidnapped and sexually assaulted usagi? in the manga and crystal, he's killed off unceremoniously.

but guess what ikuhara, the feminist king who knows to write SO MUCH BETTER than naoko, did. he tried to make demande sympathetic. he made usagi sympathise with him.

yasssss ikuhara you go make the pedophile sexual assaulter sympathetic, you feminist king! you definitely know SO MUCH BETTER than naoko!

and people thought crystal was antifeminist? get outta my face with that at least crystal didn't try to make the fucking borderline rapist sympathetic, he disintegrated in a pile of dust like he deserves.

you might be thinking "get outta here no one says the 90s anime is more feminist than the manga". well yes people do. you'd be surprised. i went to an old anime confession blog and found these posts back when crystal was still new and still had a MASSIVE hatedom

and these are just some of the posts. there's so much more. people who dared to enjoy crystal were called misogynistic for... liking a show. even today i see people bash naoko for the smallest things while praising ikuhara as a feminist king and lgbt ally who did more for the community than naoko (which is funny because the 90s anime has an episode where makoto has a crush on haruka and the girls are like "nuuuuuu mako you can't date haruka you're a girl" which wasn't in the manga). when he wouldn't even have been able to make the anime without naoko's manga.

there's an interview with naoko takeuchi where she says that the difference between the manga and 90s anime was that the 90s anime had a male perspective as it was directed by men while the manga mostly had a female perspective as it was written by a woman.

and it honestly really shows when you watch the anime again.

was the 90s anime progressive for its time? yes. is the manga peak feminist literature? no. you can prefer the 90s anime over the manga but don't go acting like its inherently more feminist than the manga just because it doesn't focus as much on the romance aspect. the manga focusing more on usagi and mamoru's romance doesn't make it inherently less feminist.

[mybrainproblems]

the thing is i'm hyperaware of the fact that i'm Weird About Andrew Dabb but it comes from a place of me realizing back in fall 2021 that i wanted to identify why exactly i didn't like him and deciding to do a close watch of his spn eps. and when i realized i was enjoying parts of it, i decided to see what i could turn up any of his non-spn work. (this is something i've always tended to do with creatives: tracking down older stuff for a more holistic view of their work.)

i was so stuck on how much i hated some parts of his writing (s7 dabb-loflin is horrendous) and couldn't get past that... then i found out independently that he was showrunning the upcoming netflix resi show (a franchise i both love and have complicated feelings about) which filled me with dread that the guy who co-wrote 07x22 would helm a show with a predominantly black cast -- especially with the ultimate villain, albert wesker, played by a black man (RIP lance reddick, you are dearly missed). i wanted to be optimistic but i was ready to be infuriated and was so nervous that i'd hate something i'd been looking forward to as some camp horror tv.

but then. oh. OH. it was everything i ever wanted from resi and never thought i could have. i could not conceive of a resi like this. a resi where women and poc are treated with empathy and as nuanced characters with interiority. where they are the central characters. the video games have their own issues but the movies are truly egregious when it comes to black characters. so to have a predominantly black cast (and a black female protag, no less!) and have them treated respectfully was amazing. this was a show that had heart and a somewhat diverse writer's room and bts crew (not saying it was perfect) and you could see that difference in how characters were treated and how the plot and direction was handled. (i think having female directors and producers in particular helped a lot.)

for those who have not seen the anderson/jovovich movies: there is always a token black character and they will always die by the halfway mark bc they make stupid decisions. it's non-stop tits and ass shots of jovovich (which feels super weird when the director is her husband). alice (jovovich) is an Action Girl who is frequently subjected to sexualized violence but unfortunately, i love the camp horror of it. it's complicated. the video games have their own issues with the portrayal of women and ada wong being DLC feels really shitty when she's so pivotal. women are largely either helpless or Strong Sexy Action Women.

like i really cannot express just how much 8 episodes of tv so wholly changed my opinion of a writer/showrunner bc it showed such growth. a showrunner is only one piece of the puzzle of a tv show but they are the ones guiding it and the ones who have substantial influence in the hiring and development/direction of the story.

it's like. i don't forgive dabb for 07x22 and the shit he wrote with loflin (or solo, tho he improved a lot without loflin), but to see how resi turned out and to read/watch interviews with him and the bts crew is like. oh, okay. i think this person gets it now. i don't think i can forgive and forget bc s7 makes my blood boil, but i can accept that growth has happened here and that's what we should want from people.

also i'm gonna say that when i look at how i am Weird About Dabb and take a step back, i can see that i'm about as weird about him as some folks are about other writers and actors from spn (and willing to acknowledge his faults). i just chose a weird writer to be Weird about.

sorry but i just have a lot of feelings about resi.

[translations-by-aiimee]

The Husky and His White Cat Shizun - Chapter 8

Original Title:  二哈和他的白猫师尊

Genres: Drama, Romance, Tragedy, Xianxia, Yaoi

This translation is based on multiple MTLs and my own limited knowledge of Chinese characters. If I have made any egregious mistakes, please let me know.

Chapter Index

Chapter 8 - This Venerable One Gets Punished

Mo Ran lay in bed like a dead fish for three days. Just as his wounds started to heal, he was summoned to Red Lotus Pavilion to do manual labour.

This was also part of his punishment. During the punishment period, Mo Ran couldn't go down the mountain, but he also couldn't just laze around. So he had to help out the sect and do some drudgery.

Generally speaking, these errands were things like: helping the cafeteria lady at Mengpo Hall wash the dishes, scrubbing the three hundred and sixty-five stone lions on the pillars of the Naihe Bridge, transcribing extremely boring archive files, and so on.

But what kind of place was Red Lotus Pavilion? It was the residence of that bastard Chu Wanning, known as the cursed place called Red Lotus Hell.

Few people in Life-Death Peak had been there, and everyone who had been there left with either their legs or their arms broken.

Therefore, in addition to Red Lotus Hell, Chu Wanning's bedroom had a more grounded nickname: Broken Leg Pavilion.

There was an inside joke circulating around the sect: "The Pavilion hides a beauty, and the beauty holds Tianwen. Enter the gate of broken legs, know the suffering of getting your legs broken. If you want your meridians broken, go to the Elder Yuheng."

There was once a female disciple who wasn't afraid of death. She was bold enough to lust after Elder Yuheng's beauty. Taking advantage of the dark night and high winds, she sneaked to the Southern Peak and climbed onto the eaves, intending to watch the Elder bathe and strip his clothes.

As you can imagine, the female warrior was beaten within an inch of death by Tianwen, crying for her father and calling her mother, and lay in bed for no less than a hundred days.

And Chu Wanning also declared that, if anyone else dared to commit another crime, he would carve out the eyes of the perpetrator himself.

Do you see? What complete nonsense! What puzzling behaviour! What a heinous man!

Within the sect, there used to be innocent silly girls who thought that, because they were women, Elder Yuheng would pity them and show compassion. They were always laughing and joking in front of him, trying to attract his attention. But ever since the elder whipped that one female hooligan, no one dared to hit on him anymore.

To Elder Yuheng, whether it was men or women, he didn't have the disposition of a gentleman. Other than a good-looking face, there was nothing redeeming about him - this was how Chu Wanning was viewed by the disciples of this sect.

The junior brother who had delivered the summons looked at Mo Ran with sympathy. He tried to stay quiet, but in the end, couldn't hold it back: "Brother Mo. . ."

"Hmm?"

". . . Elder Yuheng has such a bad temper. No one who went to the Red Lotus Water Pavilion came out able to stand. Maybe you could see if you could say your wounds haven't healed and beg Yuheng Elder to let you wash dishes instead?"

Mo Ran was very grateful for this junior brother's bodhisattva heart, but he didn't agree.

Beg Chu Wanning?

Forget it. He doesn't need to get beaten by Tianwen a second time.

So he strenuously put on his clothes, dragged his feet, and walked reluctantly to Life-Death Peak's southern peak.

Red Lotus Pavilion, Red Lotus Hell. There wasn't a single person in sight for a hundred li around Chu Wanning's residence.

No one wanted to go close to his residence. Chu Wanning's bad taste and uncertain personality made everyone in the sect stay far away from him.

Mo Ran was a bit nervous. He didn't know what Chu Wanning would make him do as punishment. His thoughts ran wild the whole trip to the southern peak. After passing through the dense bamboo groves, large swathes of beautiful red lotus came into view.

It was early morning, the sun rising from the east, reflecting a splendid shine on the horizon. The red lotus stalks in the pond stretched towards the flaming clouds in the sky, complementing each other; magnificent. At the edge of the pond, a curved zig-zag bridge led to the pavilion standing in serene silence. Behind it was a curtain of waterfalls streaming down the mountain, the fine crystal water droplets raining against the rocks at the bottom. The watery mist created by it evaporated into the air, light gleaming through the fog, creating a sense of enchanting tranquillity.

This is what Mo Ran thought about this:

Gross.

Wherever Chu Wanning lived, no matter how beautiful it was, would always be gross to him!

Just look at it, so arrogantly extravagant, a true waste of extravagance, in fact. The disciples’ dorms are all closely connected to each other and they don't take up much surface area. And then there's the mighty Elder Yuheng, who occupies a whole mountain by himself. He even dug three large ponds and filled them with lotus flowers. Although, these lotus flowers are special varieties and can be refined into immortal medicine, but—

This is getting off track, the place was not pleasing to the eye. He wished he could burn down Broken Leg Pavilion with his torch!

All he could ever do was silently criticize this place. Given that he was only sixteen* this year, he was no match for Chu Wanning. Mo Ran showed up outside Chu Wanning's residence regardless. He stood at the door, squinted his eyes, and put on a sickeningly sweet demure, pretending to be the ideal disciple.

*(T/N The original text flips between all these ages. Mo Ran is just guessing how old he is so that's why it keeps going to 14/15/16)

"Disciple Mo Ran here to greet his master."

"Yes, come in."

The room was chaotic and disorganized. The cold-blooded demon Chu Wanning was dressed in a white robe. The lapels were folded high and tightly, giving off an air of purity and abstinence. Today, he had his hair in a high ponytail, covered with a black metal hair ring. He sat on the ground fiddling with a bunch of mechanical parts, biting a pen he had in his mouth.

Casually glancing at Mo Ran, with the pen still in his mouth, he said vaguely: "Come here."

Mo Ran approached him.

It was no easy feat. Considering there were no benches or tables in this room, artwork and metal broken wood were scattered everywhere.

Mo Ran's brows twitched. He had never entered Chu Wanning's room in his previous life, and he had no idea that this well-dressed beautiful man lived in such a mess. . . He was at a loss for words.

"Master, what is this?"

"Night Wanderer."

"What?"

Chu Wanning was a little impatient, probably because it was inconvenient to speak with a pen in his mouth: "Night Wanderer."

Mo Ran silently glanced at the mess of parts on the ground.

His master was hailed as Shizun Chu, and it wasn't just out of vanity. Speaking honestly, Chu Wanning was a very powerful man. Whether it is his three god-grade weapons, his cultivation techniques, or his machine-building skills, he was clearly worthy of being defined by four words: "the peak of excellence". This was also the reason why he had such a bad temper and was so difficult to serve, but the major cultivation sects still tried to fight over him for those skill.

Regarding the "Night Wanderer", the reborn Mo Ran was well aware of it.

It was a kind of machine made by Chu Wanning, cheap to make but had strong combat power. It can guard the ordinary people in the lower cultivation world from ghosts and demons at night.

In his previous life, the well-made Night Wanderer had almost become a must-have machine for every household. The price of one was equivalent to a broom, and the effect was much easier to handle than the Grinning Door God.

After Chu Wanning died, those Night Wanderers still guarded the poor families who couldn't afford a high-level cultivator. This compassionate heart, coupled with Chu Wanning's affection for his disciples. . . hehe, it really makes Mo Ran despise him.

Mo Ran sat down and looked at the "Night Wanderer" which was just a bunch of parts at this time, and the past flashed through his mind. He couldn't help picking up one of the Night Wanderer's limbs and grasped it in his hand for a closer look.

Chu Wanning clipped a few components, finally freeing his hands. He took the pen out of his mouth and glared at Mo Ran: "That one was just finished with tung oil, don't touch it."

"Oh. . ." Mo Ran put down the machine. He put his fake smile back on still looking cute and completely harmless. He asked with a smile, "Shizun summoned me here, are you planning to let me help?"

Chu Wanning hummed: "Mm."

"What do you want me to do?"

"Clean up the house."

Mo Ran's smile froze. He looked around at the room that looked like it had been hit by an earthquake: ". . ."

Chu Wanning was a genius in immortal cultivation and an idiot in life.

After picking up the fifth broken teacup that had never been swept up, Mo Ran finally couldn't stand it: "Shizun, when was the last time you cleaned your house? My god, it's so messy!"

Chu Wanning was looking at his drawings, and didn't look up when Mo Ran spoke to him: "Almost a year."

Mo Ran: ". . ."

"Where do you usually sleep?"

"What?" There must be something wrong with the drawing. Chu Wanning was upset and looked even more impatient than usual. He rubbed his head and replied in a huff, "Of course it's the bed."

Mo Ran glanced at the bed. It was piled with all kinds of machines that had been mostly completed, as well as a bunch of tools such as saws, axes, files, and so on.

Seriously, how did this man sleep without cutting his own head off?

After working for most of the day, the sawdust on the floor had filled three dustpans, and the white towel that had wiped down the bookcase was ten times more black. By noon, he had only cleaned about half.

Fuck Chu Wanning, this person is really more poisonous than a leeching woman.

Cleaning a room didn't seem like much of a punishment, it didn't really seem like hard work, but who knew that it was such a ghastly place that hadn't been touched in a year? Not to mention that he was covered with wound. Even if he was healthy now, he could shorten his lifespan by half going through all of this!

"Shizun. . ."

"Hm?"

"Your pile of clothes. . ." They'd been stacked there for about three months.

Chu Wanning finally got one of Night Wanderer's arms attached. He rubbed his sore shoulder, looked up at the robes on the suitcase, and said coldly: "I wash them myself."

Mo Ran was relieved. Thank goodness. But he was still a little curious: "Really? Shizun can wash clothes?"

Chu Wanning glanced at him, and after a while, coldly said: "What's so hard about it? Throw them in water, soak them, take them out, and dry them."

". . ." After hearing this, he really didn't know any girl who would keep lusting after Chu Wanning. Mo Ran truly thought that it would break the hearts of dozen of women to find out how disgusting this man really was.

"It's getting late. You can accompany me to the dining hall and finish the rest when you get back."

There were people coming and going from Meng Po Hall, and the Life-Death Peak disciples were eating together. Chu Wanning grabbed a lacquered wooden tray, took a few dishes and sat in the corner silently.

From where he was, no one sat within twenty feet of him.

No one dared to sit too close to Elder Yuheng, for fear that he would get upset, and they would get a lashing from Tianwen. Chu Wanning himself actually knew about this, but he didn't mind. A cold beauty sat there, gently eating the food in the bowl.

But today wasn't like usual.

Mo Ran was brought by him, so naturally he had to follow him.

Others are afraid of him. So was Mo Ran, but he had already died once, so Chu Wanning was nothing in comparison.

Especially after the fear of first seeing him had subsided, the hatred of Chu Wanning from his previous life slowly emerged. So what if Chu Wanning was powerful? In his last life, he still died by his hands.

Mo Ran sat down in front of him, calmly chewing the sweet and sour pork ribs in the bowl. He crunched on the bones then spit them out into a pile.

Chu Wanning suddenly slammed down his chopsticks.

Mo Ran stopped for a moment.

". . . Can you stop eating with your mouth open?"

"I chew the bones, how am I supposed to do that with my mouth closed?"

"Then don't eat the bones."

"But I like to eat the bones."

"Eat around them."

The two quarreling voices grew louder and louder, and some disciples were already peeping at them.

Mo Ran fought the urge to throw the rice bowl over Chu Wanning's head. He pursed his lips, and after a while, he narrowed his eyes, and a sweet smile appeared at the corners of his mouth.

"Shizun, don't shout so loudly. Others might hear, won't they laugh at us?"

Chu Wanning has always been thin-skinned, and his voice really softened. He whispered: "Get out."

Mo Ran burst out laughing.

Chu Wanning: ". . ."

"Hey, Shizun, don't stare at me. Come on, let's eat. I'll try to be quiet."

Mo Ran had laughed enough and started playing nice again, the sound of his chewing much softer.

Chu Wanning gradually went back to gently eating. Seeing that Mo Ran was bring obedient, his face slightly relaxed, no longer looking so bitter and upset. He lowered his head, eating his green beans and tofu with grace.

After a long pause, Mo Ran started to do it again.

He didn't know what was wrong with him. In summary, seeing Chu Wanning in this life, he wanted to make a fool of himself and do whatever he could to make him angry.

So Chu Waning found that although Mo Ran did not chew loudly this time, he began to grab the ribs with his hands and eat them, sloppily eating with greasy hands and sauce-covered fingers.

Chu Wanning's blue forehead vein popped. Endure it.

He lowered his eyelashes. He didn't look at Mo Ran, and focused on his own meal.

Mo Ran didn't know if he had gotten too carefree or forgetful while eating, but he accidentally threw one of the gnawed bones into Chu Wanning's rice bowl.

Chu Wanning stared at the messy and hideous rib bone, and the surrounding air so condensed and frozen it was visible to the naked eye.

"Mo Ran. . . !!!"

"Shizun. . ." Mo Ran was quite frightened. He wasn't sure whether what he said sounded true or fake. "That. . . Uh, I didn't mean it."

Probably fake.

". . ."

"Don't be angry, I'll take it out for you."

He really stretched out his chopsticks, stuck them into Chu Wanning's bowl, and quickly picked out the bone.

Chu Wanning's face was pale, like he was about to vomit.

Mo Ran batted his eyelashes, and there was a pitiful grievance on his delicate face: "Shizun, do you dislike me?"

". . ."

"Shizun, I'm sorry."

It was just that.

Chu Wanning thought to himself: Why do you need to be restrained with the junior disciples?

He gave up the urge to summon Tianwen to hit Mo Ran. His appetite was gone, and he got up and said: "I'm full."

"What? Is that all you're going to eat? Shizun, you've barely touched your food."

Chu Wanning brushed him off: "I'm not hungry."

Mo Ran's heart felt like it was as joyful as a flower, and he still sweetly said: "Then I won't eat it anymore. We can go back to Red Lotus Hell - ehem, go back to Red Lotus Pavilion."

Chu Wanning narrowed his eyes: "We?" There was a mockery in his eyes, and then said, "Who is the other person you're talking about? Disciples and their Shizun have respectable relationships and you will address me in the proper manner."

Mo Ran carefully kept his expression, his eyes curled up with a smile, well-behaved, sensible and cute.

However, in his heart he was thinking: Respectful relationship? Proper manner?

Hehe, if Chu Wanning could know what happened in his previous life, he would know - in the end, Mo Weiyu was the only one deserving of respect in the world.

No matter how noble and arrogant Chu Waning was, he was still a piece of mud under his boot. Didn't he depend on Mo Ran's good will to survive?

Stepping quickly to keep up with his shizun's pace, Mo Ran still had a bright smile on his face.

If Shi Mei was the white moonlight in his heart, Chu Wanning was the broken fishbone stuck in his throat. He needed crush this thorn or swallow it, and it will corrode away in his stomach.

In short, during this new life, he could spare whoever he wanted.

But he would never spare Chu Wanning.

However, Chu Wanning didn't seem to want to spare him so easily.

Mo Ran stood in front of the library in Red Lotus Hell, looking at fifty rows of ten-story bookshelves, thinking that he must have heard wrong.

"Shizun, what did you say. . .?"

Chu Wanning replied lightly: "Dust all the books in here."

". . ."

"After dusting, catalogue them."

"..."

"I will check back tomorrow morning."

"!!!"

What!!! Was he supposed to stay overnight in Red Lotus Hell??

But he had planned to meet with Shi Mei, and even asked Shimei to change his medicine at night!!!

He opened his mouth to plead his case, but Chu Wanning didn't bother paying attention to him. With a wave of his wide sleeves, and turned to exit the library, and, incidentally, closed the door of the library in a haughty manner.

Mo Ran, who's date had been ruined, sat in his boiling hatred of Chu Wanning - he wanted to burn all Chu Wanning's books!!

No!

After thinking it over, he thought of something even worse. . .

Previous Chapter Next Chapter

[generallypo]

in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh. 

------

anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding! 

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes.. 

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way. 

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ. 

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically. 

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that. 

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you. 

yeah fucking right.

------

and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him. 

[[You are this universe’s most powerless existence, aren’t you.]] 

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself. 

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

------

and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (”haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise. 

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines. 

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

------

now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios  and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out.  i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah. 

------

(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

------

and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

[longitudinalwaveme]

The CW Rogues: My Biggest Gripe With the 2014 Flash Show

In many ways, the CW Flash show is what got me into comics. While I had watched (and loved) Justice League and Justice League Unlimited and read loads of DC guidebooks as a kid, it wasn’t until I saw a clip from the 2014 CW Flash show that I really got invested in the DC Universe. While I had already started watching B:TAS (and loving it), Batman wasn’t what got me into comics. No, that was the Flash...or rather, it was Captain Cold. While watching a clip from the Justice League episode Flash and Substance on YouTube, I saw a link to a clip from “Family of Rogues” (from Season 2 of CW’s Flash). Intrigued by the premise, I found the show on Netflix, watched the entire episode, and was hooked. Not only was the Flash just as nice as he had been on Justice League, but two of his Rogues were siblings, and they actually cared about one another. I wanted to know more, so I looked Captain Cold and the Golden Glider up. My research into Cold and Glider led me to the other Rogues, and soon I became a Flash fan. I watched the show, I re-watched “Flash and Substance”, I read articles about the characters from the comics...and eventually, I started reading the comics themselves. I loved the characters and the lore, and I enjoyed the generally lighthearted tone of the books even into the modern era. Unfortunately, as I learned more about the comics, I grew less and less interested in the 2014 TV show. It made too many alterations to character I liked in the comics...and eventually, I basically stopped watching the show out of frustration. Ironically enough, by getting me into comics, the show alienated me from itself....and a big reason for that was the way it handled the Rogues. Here’s a rundown of the CW Rogues, and why I was frustrated with most of them. 

1. Captain Cold. I actually enjoy Captain Cold on the CW show; he’s recognizable as Len Snart and his sarcasm game is on point. (It doesn’t hurt that Wentworth Miller is really attractive, either). His relationships with Lisa, Mick, and Barry are fantastic, and it’s a relief to have him be treated as a competent threat. That being said...he’s a bit too suave for Captain Cold, isn’t he? Silver Age Cold thought he was suave, but he wasn’t; and modern Captain Cold is middle-aged, grouchy, and very rough around the edges. His smooth, suave nature reminds me more of classic Sam (the original Mirror Master) than Captain Cold. 

2. Heat Wave. Dominic Purcell did a great job with the role he was given, and physically he’s an excellent match for Mick. That being said, CW Mick is very different from the Mick in the classic comics, who was a bit dim-witted and rather gentle and sweet for a supervillain. CW Mick, by contrast, is, as I think @gorogues put it, “Hothead McAngryman”, which wouldn’t be so bad if it didn’t seem to have bled back into the comics themselves. Villains with fire powers being hotheads is a bit overdone, so I’m not thrilled to see comic Mick being put into that role. 

3. Golden Glider. Hands down, Lisa is my favorite of the CW Rogues. Despite the fact that her costume and power set are completely different than they were in the comics, they managed to get her personality down pretty well; making her just as dangerous and competent as the boys. Flirtatious, crafty, devious, and yet still at least somewhat sympathetic, the CW version of Lisa Snart takes home the gold for the best adaptation of a Rogue. If only they hadn’t completely forgotten that she existed. 

4. Pied Piper. Note that I have not seen his Season 6 appearance, so I’m just judging this based on his appearances in Seasons 1 and 2. Piper is disappointing; in his first appearance he wasn’t as fun as Silver/Bronze Age Piper or as sympathetic as modern Piper, and I’m not crazy about the idea of him being motivated primarily by revenge on Wells/Thawne, since that wasn’t his motivation in the comics at all. I also don’t remember him being able to puppet or hypnotize people with his music, which is too bad, since that’s his main schtick in the comics. What’s more, if you want to reform a character, don’t do it offscreen via reality warping and then forget about him for four seasons. It sounds like his Season 6 appearance was better, but I haven’t seen it so I can’t comment on it. Also, “the Pied Piper” is kind of a nonindicative name if he doesn’t play a pipe/flute. 

5. Trickster II (Axel Walker). Axel was actually decent in the CW show. I still like comic Axel better, but they got the gist of his character down and even made him a bit sympathetic. In fact, he’s probably in the top three best Rogue adaptations that the CW did. 

6. Trickster I (James Jesse). I love watching Mark Hamill play CW’s Trickster...but man, he is not playing Giovanni Giuseppi on the CW show. He’s playing the Joker with a different name. It’s especially weird since we know from JLU and that one short where Mark Hamill plays himself, the Joker, the Trickster, and Swamp Thing that Hamill can do a non-Joker Trickster and do it well, so my suspicion is that it was just because Trickster was also the Joker in the 1990s Flash show (where he was also played by Mark Hamill). Regardless, murdering random people and threatening to blow up small children during Christmas is not something the Trickster should be doing. 

Although this does prove Mark Hamill could do a live-action Joker. I’d pay money to see that. Mark Hamill is a great Joker. 

7. Weather Wizard. CW Weather Wizard isn’t egregiously bad. He’s not out-of-character like Trickster, and he’s not boring to watch, but at the same time it feels like there’s something missing. Maybe it’s because he doesn’t quote Twain. Maybe it’s because there’s not the sense that he was a loser before he got his powers. Maybe it’s because they changed his origin completely (and also made him older than Clyde for some reason). It could even be because he’s not wearing a green leotard with a huge collar, puffy sleeves, and ridiculous elf boots. Whatever it is, though, he’s just missing that spark that makes me like comic book Wizard so much. 

8. Mirror Master I (Sam Scudder). I don’t know how you make Sam Scudder more boring than New 52/Rebirth did, but somehow the CW version of the character pulled it off. Granted, Cold had already stolen some of Sam’s characterization, so that didn’t help, but they could’ve leaned into his skills as an inventor or his love of showmanship or something. Instead, we got a generic thug with what was basically Evan McCulloch’s power set. Boo! Boo I say! 

9. Top (Roscoe/Rosa Dillon). The Brave and the Bold Top is more interesting than the CW version, and he doesn’t even have spoken lines! That’s how boring this Top is. Also, the gender swap was pretty pointless. I wouldn’t have minded a female Top if she’d been intelligent and creepy and snobbish in the way that Roscoe is, but why even bother changing the gender if the character is going to have such a minor role? They also substantially depowered the CW Top, since Rosa can’t spin at super speed and isn’t telekinetic. A massive missed opportunity. 

10. Mirror Master II (Evan/Eva McCulloch). I can’t comment on how good of a character Eva is, since I haven’t watched any of the episodes with her in them, but I will say I am disappointed that the character does not seem to be Scottish, does not have Evan’s weird sense of humor, and lacks his tooth gap. 

11. Captain Boomerang (George “Digger” Harkness). Not only did he not actually appear on the Flash, but he was also boring and didn’t even seem to have an Australian accent. I was very disappointed with his role in the CW. 

And now for characters who aren’t Rogues: 

-CW Eobard is really good. I have no real complaints about him. 

-CW Grodd is also really good, though I do wish he was from Gorilla City as per the comics rather than a lab experiment. 

-CW Magenta got most of the important character beats down but felt a bit out of place with Barry as the Flash. 

-CW Shade was possibly even more boring than CW Sam, which is saying something. 

-CW Zoom didn’t really feel like Zoom at all. Not only was it weird to see him fighting Barry and not Wally, but he was just a generic serial killer and didn’t have Zolomon’s unique outlook on the world. The loss of his time manipulation powers was likewise disappointing.

-CW Jay is really good. I love him. 

-CW Jesse Quick has very little in common with her comic book counterpart; I like the comic version better but don’t actually mind the CW version all that much.

-CW Wally is decent enough, though I don’t see why they couldn’t have kept him as Iris’ nephew rather than making him her brother. Also, they didn’t use him nearly as much as they should have. 

-CW Barry I generally like a lot; Grant Gustin is a good fit for the character. That being said, I do wish they hadn’t given him the dead mom origin, which was a retcon I am not fond of. 

-CW Iris is quite good (in the first three seasons, at least); she’s intelligent, loyal to Barry, dedicated to her job, and quite independent. The fact that she and Barry were foster siblings in the CW universe is kind of weird, though, since it makes their romance kind of awkward. 

-Joe West is not Ira West (Iris’s father in the comics), but I actually don’t care. Joe West is made of awesome. (I like Ira too, but I like Joe enough that I don’t mind having him replace Ira.)

-The Fiddler on the CW had very little to do with the comic Fiddler. 

-I’ve never been particularly invested in the Thinker (comic or show), but I will say that the CW’s version of the character was very different from his comics counterpart. 

-CW Ragdoll was just as creepy and unsettling as comic book Ragdoll, though he had a very different backstory. 

-I never expected Baby Josh to make it into the CW, let alone as a gender-swapped teenager named Joss who wanted to kill Weather Wizard. It felt like they never knew where to go with her character, though, so it was a wasted opportunity. At least she didn’t die like poor Baby Josh, though. 

-Big Sir in the CW show is a MASSIVE improvement over the comic version. This is probably the only character I will say this about. Though I will say that I kind of wish he’d gotten his stupidly ugly comic book costume even though it would’ve made no sense. 

-Peek-a-Boo is a pretty solid adaptation of her comic book counterpart. 

-Rainbow Raider (Prism) is much better in the comics than on the CW show, where he only existed to be a boring plot device. 

-Linda Park dating Barry was weird, but they actually did a good job with her character before she vanished.

This is not intended as a criticism of anyone who likes the show or its characters; it’s just me musing about my personal problems with it. 

[opbackgrounds]

Alright, friends, you know the drill by now. Here’s Part III of Sarcasticles’ overblown thoughts on sexism in One Piece. If you haven’t already, go read Part I and Part II before proceeding. 

I promise after this I’ll be done. By hook or by crook, we’re getting through the point of the original question. To the Anon who originally sent the ask, sorry it took this long to get here, I hope it’s helpful.

Also, I allude to some very, very minor Wano spoilers, so if you’re sensitive to that sort of thing here’s your warning. 

Characterization? I Don’t Know Her

What makes a good character?

I’ve spent an awful lot of time talking about character designs, when, funnily enough, it’s one of the aspects I pay the least attention to when it comes to deciding if I like how an author portrays their characters. I personally don’t care for fanservice, never have and never will. But unless it’s particularly egregious, I tend to ignore it because there are other factors I think are more important. 

The secret sauce for building characters is hard to define, because a good writer can take a concept that has no right being any good and turn it into something incredible (Oda does this all the time) where bad writers will seemingly slot all the right information in the right holes and still have their characters come out of the developmental oven flat and under cooked. 

One of the biggest buzzwords floating around these days is agency. Is a character active in their own story, or are they jerked around by the needs of the plot? Is their voice heard? Is their voice unique, or do they blend in with the background?

This is particularly important, because the term Strong Female Protagonist has been warped into shorthand for “girl who fights a lot and looks pretty doing it”. You can have a girl strong enough to lift mountains and still have her be a shit character. You can write a girl who’s main motivation is to get married and have babies with phenomenal depth. What matters is execution. 

The Petition to Call A Group of Rescue Arcs a ‘Damsel’

Both Nami and Robin had to be rescued, their main arcs bearing similarities that are impossible to ignore. But these aren’t copies of one another as much as variations on a theme, and with the existence of Marineford and Whole Cake Island I think anyone would be hard-pressed to say that One Piece’s rescue arcs are a girl’s thing. At this point it’s a feature, not a bug. 

Which makes sense given how fundamental the idea freedom is to the series. Hell, the first thing Luffy does after becoming a pirate is free Coby from Alvida’s tyrannical reign. Then he frees Zoro from an unjust authority that would have killed him had Luffy not intervened.

Notice a pattern here? 

One Piece is written like Pachelbel Canon, in that a very simple core of ideas are repeated over and over with layers of complexity and nuance added over time, examining the same themes from every possible angle. 

And when you look at the Four Big Rescue Arcs -- Nami, Robin, Ace, Sanji -- you’ll see that it’s Ace who’s given the least agency throughout his arc. Nami chose to hijack the Going Merry, repeatedly chose to push away the Straw Hats until she reached her breaking point, at which she chose to ask for help, with Luffy only intervening once she does. 

Robin is a little less obvious, but during the post-Water 7 party chapters, Aokiji makes the interesting observation that Robin could have escaped CP9, but chose not to

Remember that before Robin’s backstory was shown, Luffy specifically said he didn’t care if she wanted to die or not, so long as she was with the Straw Hats when she made her decision. No one bullied her into “I wanna live”. It was a choice she made of her own volition after realizing the depths the Straw Hats would go on her behalf.

I know there are people who disagree with me, but Nami and Robin are well-written characters. I’ve expounded enough on my reasoning both here and on my main that I don’t want to spend the time belaboring the point. What I do want is to note that Luffy wouldn’t be able to attain his dreams without them. Nami keeps them on course while also severing as a sort of moral compass for the crew -- remember she was the one who insisted on saving the giant kids at Punk Hazard -- while Robin’s ability to read the poneglyphs is what’s going to get the crew to Raftel.

Robin admittedly doesn’t have the same presence within the Straw Hat Pirates as Nami, but I would hardly call that sexism. Since Water 7/Enies Lobby she’s been pretty content to go with whatever Luffy says, and the fact that she’s literally quieter than anyone else in the crew means she doesn’t get as much focus. I think there could be more scenes with her using her specific skill set, like her investigations in Wano and the forensic anthropology scene in the pre-Jaya chapters, but I’m okay with her being a supporting character. 

The East Blue Crew have consistently gotten the most focus of any of the Straw Hats. They are the core of the crew, something Oda admits in a roundabout way in the Color Walk where they all appear together for the first time in a color spread

With the main cast as large as it is, not everyone is going to have the same amount of focus or development. Robin is given a unique voice within the story because she doesn’t overreact the way literally everyone else does. Through her silence, she stands out. I find there to be very meaningful character development when she feels comfortable enough with the Straw Hats to start calling them by name in Thriller Bark, relaxed enough with her friends to comitt her first facefaults in a series lousy with them in both Dressrosa and Wano.

In an ideal world, Oda would better rotate through his cast, much like how Brook was the unsung MVP on Whole Cake Island (where Nami was also excellent in a supporting role) but I don’t think people realize how hard it is to juggle almost a dozen different people in a story that’s bloated exponentially over time. To his credit, Oda has handled his expanding crew better than most writers. 

I also find it hard to judge this aspect of the series because the manga’s not done yet. I don’t know how Robin and Nami will be used in the future. I mean, Robin never got a chapter title declaring her “The Seventh” which I find suspicious, so Oda could very well have events in store that completely turn our perceptions upside down. It’s impossible to say.

I will acknowledge that the lack of big fights is somewhat disappointing, but neither Robin nor Nami’s dreams revolve around them getting stronger. Robin doesn’t need to use her power to make people explode from the inside out, Nami doesn’t need to fry end-game bosses with her lightning stick. That’s simply not their narrative purpose. With the exception of Tashigi, I’ve found that the female characters advertised as fighters have lived up to their billing. Hancock came out of Marineford unscathed. Carrot’s sulong form was awesome, in the old-fashioned sense of the word. The whole climax of Whole Cake Island revolved around surviving Big Mom’s wrath. Not beating her, not fighting her, it took all the Straw Hats had to just survive. Once again you’re left with a number’s game where where there just aren’t enough female characters to even pretend things are balanced.

All said, I think if you’re going to complain about the lack of Robin fights then I think you also have to complain about the lack of Brook fights, and that’s just not something you hear about, especially after Whole Cake Island. You can’t have it both ways. Either there needs to be more even distribution of major fights throughout the entire crew, or you have to acknowledge that a character’s worth isn’t dependent on their fighting prowess. 

One Piece is a battle manga, and I do think that it’s fair to criticize when a character isn’t allowed to fight when they’re perfectly capable of kicking ass. But it’s also an adventure story, and that opens up entirely new space for a character to occupy, and that’s where I think Nami and Robin (but especially Nami) really shine

That Moment You Realize Humor Isn’t A Universal Language

I’ve spent so much time defending Oda’s designs and characters that it might seem like I’m perfectly okay with everything that’s portrayed in the manga. To be clear, I’m not. If the messages and comments I’ve gotten over the past several days have taught me anything, it’s that many fans share the same sticking points I do, namely in regards to some of the gags. 

I again want to be careful here, because I’m hardly an expert on Japanese culture and it’s really hard to tell if Oda writes his jokes because he thinks they’re funny, or if he thinks his audience will find them funny. I’m again going to default to somewhere in the middle, because if Oda truly found the perviness distasteful he probably wouldn’t have included it, and I’ve read enough SBS to know the guy likes his dick jokes. 

First and foremost, one must address the culture gap. Japan ranks last among G7 nations on gender equality, In 2004 two-thirds of Tokyo women in their 20-30s reported to being groped while on public transport. There are numerous barriers that make it difficult for a woman to succeed either in the workplace or politics. 

From what I can gather, some of these trends are reversing, albeit slowly and with great resistance. Contrary to what many people seem to believe culture is not always value neutral. And I say that as an American, recognizing there are plenty of things about my culture and country that are really fucked up. 

But who gets to decide who’s right and who’s wrong?

When inside that kind of environment, that kind of culture, it’s a lot easier to understand how a character like Sanji can exist. It’s easy to understand why Momo shoving his face into Nami and Robin’s boobs might be played for laughs. It’s not an excuse, but an explanation. And with Sanji failing more often than not, being the butt of his own joke as he slowly turns into a parody of what he once was, one could almost say Oda is pointing those types of people and saying, “Look how pathetic this guy is. Now go laugh as he gets a nosebleed so bad he needs multiple blood transfusions in order to not die.”

I say almost, because Sanji is never condemned for his actions, nor does he learn from them. Instead you have this character who’s supposed to be one of the kindest characters in the series decide to immediately go peep on a woman’s bath house after gaining the power of invisibility. 

Stay classy, Oda.

As distasteful as I find it, I don’t find fanservice to be an inherently evil thing that must be eradicated at all costs, and with Oda doing things like putting his entire cast, male and female, into skintight leathers you can hardly say that he’s excluding the men. 

Everyone will have their line in the sand, and mine goes back to agency. When Nami did her Happiness Punch way back in Alabasta, that was of her own volition. When Nami and Robin dress in clothes that show everything but the nipple, that’s something they chose and feel comfortable in. 

But when Smoker and Tashigi swapped bodies at Punk Hazard, Tashigi specifically asked Smoker not to strip, and he did anyway, opening her coat and removing her bra. This is especially egregious as Tashigi is one of the very few women in the series who is always shown wearing very conservative clothing. Oda specifically showed Tashigi getting upset at Smoker’s actions, and Smoker repeatedly refusing to listen to her.   

That’s where I draw my line. 

Some Final Thoughts I Couldn’t Fit Anywhere Else 

Thought The First--Oda has an interesting habit of turning his most despicable, scummy pieces of flaming human garbage into the butt of the joke. Villains like Crocodile and Doflamingo are certainly evil, but it’s the idealized, cool type of evil that makes you almost admire them. There aren’t very many real-world Crocodiles, but just about everyone knows a Spandam, or an Absalom, or a Vander Decken. These kinds of villains aren’t scary because of their physical prowess, but their unyielding obsessions and the power they’re able to wring from the system, and -- surprise, surprise -- all three are either actively trying to be creepy sex pests or coded as such with the visual language of the comic.   

And Oda turns them into a mockery. 

While there are some who feel like not treating serious issues like sexual assault seriously are doing a disservice to people who have endured similar experiences I think there’s merit to turning them into a laughingstock. As someone much smarter than me said once, if an opinion cannot withstand mockery it’s revealed to be ridiculous, and these scummy-scum villains are certainly ridiculous.

Thought The Second--It’s hard to say how much sexism is a thing in-universe. Kuina is the only one who is explicitly told her dreams were impossible because of her gender, but with the recent reveal confirming that her family came from Wano, which in turn is based on Feudal Japan, it’s hard to say how widespread these beliefs are. Tashigi brought it up again at Loguetown and Bellemere specifically told her girls that they lived in an era where “girls needed to be strong, too”, but otherwise it’s not a topic that’s been explored in any depth

Thought The Third--The in-universe fetishization of mermaids has some implications that I think are unintended but worth discussing. Shirahoshi has a reputation of being one of the most beautiful women in the world despite not leaving her tower for over 10 years (she’s 16). Mermaids whose tails have split are worth less on the slave market than those whose are intact. Even Zoro erased Kokoro from his memory after meeting the more attractive Caime. It’s one of those odd things that when combined with the more obvious racism themes could have some unfortunate implications, and I think could have been avoided had Oda show a little more restraint with some of his jokes. Unintended consequences are still consequences. 

Thought The Forth--There are many other instances throughout the series that people bring up with talking about sexism in One Piece. I feel like a lot of these can be explained away individually -- for example, both Belo Betty and Rebecca’s stripperific outfits were inspired by other media, the painting Liberty of the People and Red Sonja respectively; Lola chasing after an obviously abusive man makes a whole lot more sense when you meet Big Mom; Hancock’s love sickness could be seen as an emotionally stunted woman experiencing her first crush, etc., etc -- it’s when they’re all put together that they begin to read as “Problematic”. 

It would be impossible to go over all these individually, but I tend to fall on the side of leniency. In the end, everyone has to make their own decisions based on their own values. I’m hardly unbiased, and my enjoyment for the series will undoubtedly make me look the other way when another might call the exact same incident The Worst Thing Ever. The thing is, opinions are like assholes, everyone has one and most are convinced that theirs don’t stink. I include myself in that statement. In the end it’s a comic for kids. It’s supposed to be fun. 

Thought The Last--I have spent entirely too much of my time writing this up, but in the end I guess I have to go back to what I said when I talked about my thoughts on Sanji: Everyone has their own personal line of acceptable bullshit, and for me Oda does more good than bad. Sanji specifically gets very little leniency from me because I don’t like a lot of the gross behavior Oda passes over as a joke. But the female characters themselves, generally speaking? They’re fine. There are other mangaka that have more equal male to female ratios or have women play more active roles in the story, but Oda does a lot better than most other shonen titles I’ve read. 

It’s okay to be critical of media you enjoy. It’s okay to complain. But remember that One Piece is a very long series, and there are some fans who have been a round for literally decades. I myself started reading weekly around the time Duval was introduced, way back in 2008. Every time a new batch of fans comes in the same old arguments get stirred to the top of the pot: Sanji is a creep, Oda can’t draw women, why doesn’t Robin ever get to fight?

It can be exhausting to go through the same hoops time and time again. So if you’re someone who is being critical and feel like no one is listening, or that a bunch of fans are going out of their way to defend Oda, that could be one of the reasons why. They’re tired of having a series they enjoy be shit on. 

There are other fans who legitimately don’t think that Oda’s done anything wrong, that jokes are just jokes. If you happen to fall in that category, remember that not everyone feels that way. Art reflects life, which in turn reflects art. One Piece is a few million copies away from outselling Batman. To say it isn’t influential to young readers, both in Japan and abroad, is beyond asinine. 

I thank everyone who’s taken the time to read this so far. I’ve been pleasantly surprised by how civil the discussion and my inbox as stayed. Even if I didn’t respond to your message, I promise that I did read it. 

I wrote as much as I did because I know this is a topic a lot of people care about, and also so I hopefully don’t have to write about it again. A lot of hours has gone into this project, and it’s been exhausting, but in a good way, if that makes any sense. I’m ready to put it to rest. 

I was joking with some friends that I think I’ve hit just about every hot topic issue now, so hopefully I can go back to fun questions like speculating if Wapol can eat a person and poop out a devil fruit. 

Until then, Sarcasticles, out         

[overthinkingkdrama]

Exit Review: Itaewon Class

Synopsis

Park Saeroyi is a socially awkward high school student and son of a devoted and kind single father. His unvarnished righteous personality has a tendency to rub people the wrong way, but it is not in his nature to back down from what he believes to be right. After a run in with a bully named Geun Won, the son of the ruthless, vindictive CEO of a restaurant empire, Saeroyi winds up pitted against the powerful, unscrupulous Jangga Co. After a tragic incident shatters Saeroyi's world and winds up with him going to prison, he decides to dedicate his life to beating Jangga Co. on its own corporate turf while keeping his principles intact.

Review

Story: My first impressions of Itaewon Class were largely positive. The drama wasn't doing anything I hadn't seen before in another form, but there was something compelling about it. I wasn't sure whether to attribute that to the writing or the strong performances from the leads, but I was willing to give credit to both and see where things would go. At its most basic level, Itaewon Class is a classic revenge melo with a slick, modern coat of paint. As the drama went on I still found a lot of things I liked about it, and I was impressed out how daringly it dealt with certain topics that your average Kdrama has historically been reluctant to even hint at (racism and xenophobia in South Korea being one. The positive inclusion of a named trans character who even gets a love line later in the run being another.)

So, let it not be said that there is nothing praiseworthy or boundary pushing about this drama. That is not the case. However, as we got late into the run I started having more and more issues with the writing on a narrative level. Itaewon Class has some of the most uneven character development I've seen in a drama. Clearly some of the characters were a focus while others were decidedly not. That wouldn't be so bad in and of itself if the scripts for the last 6 episodes specifically hadn't felt in places like they were written by an entirely different writer, a writer with only a passing knowledge of the development and characterization that had come before. Geun Soo and Geun Won's character arcs are the most egregious example, but Soo Ah suffered from this as well. Additionally, Soo Ah--who was divisive for a lot of the audience but who I quite liked during the first half of the run--had a huge motivation gap for much of the drama leading into the finale week, one that was hastily pasted over in a way that made it no less frustrating as a viewer.

Although Itaewon Class has decidedly melo tendencies from the beginning, the first half of the run felt more or less grounded in reality. However, those problematic last 6 episodes during which the decline in writing quality was rapid took several makjang turns that made what was meant to be a serious ramp up in stakes into a source of unintentional hilarity.

I've already gone on too long, so I won't get into the love lines here. I'll only say that the romance, along with everything else in the plot, lost significant steam in the second half of the drama.

Acting: I really have nothing negative to say about the acting in this. Obviously, these things are going to vary from actor to actor and taste to taste, but I was very impressed with the acting in this drama as a whole. In the past I've been critical of Park Seo Joon (some would say unfairly so) but I do recognize that he's a true talent, and this is easily the most I've liked him in anything. He really manages the pathos, the fierce bullheadedness and the gut punch moments for Saeroyi impressively well. The extended cast is strong. Special props to my girl Lee Joo Young for her role as Hyun Yi. I hope she gets a ton more recognition in the future because this show did so well in the ratings. I also liked Kim Dong Hee as Geun Soo (even though I completely loathed the handling of his character arc) and I'm kind of curious to see what he could do in a better written role. This was my first time seeing Kim Da Mi in anything, and I will give her what I consider the biggest compliment I can give to an actor: I'm going to seek out other things in her filmography, and I'm going to watch her career, because she has something special.

Production: Itaewon Class is a good looking show. A little bit too squeaky clean for my tastes, but indisputably well shot and frequently quite pretty to look at. The sequences in Itaewon itself were considerably stronger and had better energy than any of the corporate stuff. However, the set they used for Jang Dae Hee's office was really neat looking and suited his character beautifully. I also liked everyone's styling. The sponsored clothing in this drama is on point.

Feels: This could definitely be a personal problem but I felt really let down by this drama. All the way through the climax of episode 8 and possibly even including episodes 9 and 10 this drama was probably a 8/10 for me or better. It wasn't perfect, but it was pushing boundaries, and it was surprising me with some unique characters. Yi Seo specifically is a female character I haven't seen before, and I was invested in her development. I know not everyone is going to agree with this or see where I'm coming from and that's fine. I don't begrudge other people enjoying this one. But I thought the last 3 weeks cratered hard and completely spoiled my enjoyment with the inconsistent and frankly sloppy writing. Beyond that, as a revenge melo I didn’t think it worked. Part of what makes a revenge story so satisfying is seeing a righteous character go up against a Goliath and succeed against all odds. The final combat in a truly great revenge story--a la The Count of Monte Cristo--happens within the hero. It takes place between the heroes sadistic desire to see his enemy experience the pain he experienced and his essentially decent and heroic nature. This drama didn’t give me that. By the time it ended it really felt like Saeroyi was bullying a dying, bitter old man. There was nothing triumphant and satisfying about it. As an avid consumer of the revenge genre, it just felt bad, to be honest, and subverted my expectations in an unpleasant way.

Would I recommend Itaewon Class? I bumped up my rating for some truly good acting and a strong first half, but I probably wouldn't recommend this drama to anyone. 6/10 

[hiscyarika]

hey! so i've been seeing a bunch of discourse regarding Omera and how she tried to remove Din's helmet without asking him, but i haven't seen anyone show the same degree of hate towards Cara as they do Omera for basically doing the same thing. i'm curious, what are your thoughts on all this? love your blog/writing! 💙✨

Me: *has not been present on Tumblr for like a week because of school*

First of all, thank you for your kind words, anon! I’m so glad that you enjoy my content and I appreciate your support! 💙

And without further ado, let me just give my two cents on the subject 😌

Let’s go ahead and start with Omera, since she’s the one that everyone seems to be so concerned about. I think that Omera is a fantastic character! She’s protected and raised her daughter on her own for some length of time. She takes charge when Din and Cara try to tell the villagers that they have no choice but to leave, and she’s absolutely badass for being the only one in the village with the skill to shoot the way she does. Awesome character, and very well developed despite only appearing for one episode. I would absolutely be open to her appearing in Season 2 as someone that Din and the child go to when they’ve hit a rough patch. 

That being said, I didn’t appreciate the scene with trying to take the helmet off. Was Din seriously considering staying? Yes. Did he react much differently than when anyone else tried the same thing? Yes. And those two points have a lot of merit in this argument and I’m glad that people have brought it up. However, Omera did know that Din had not shown his face since he was a child. He says that to her very explicitly. And then he spends weeks on Sorgan never appearing to anyone in anything less than full armor and the helmet. He doesn’t eat or drink around people. To me, it’s very clear that there is a significance to his mannerisms even if Omera doesn’t know the specifics about the Creed and why Din behaves this way. My thing about this isn’t so much that she tries to remove the helmet, it’s more that she does it in front of the entire village. This whole interaction would have been much easier to swallow if it had just been the two of them in one of the little houses. 

I think the bottom line here is that it’s okay for people to have disdain for this interaction between Din and Omera. I personally have not interacted with anyone whose opinion seems to be founded in the idea that she’s a potential love interest which “may threaten our own fantasies about Din” so to speak. I also have not interacted with anyone whose opinion seems to be founded in the fact that she is a character of color (which, Din is a character of color as well, so I personally wouldn’t understand this argument even if I had come in contact with it). That isn’t to say that there aren’t people with these viewpoints, but I think that it’s really important not to assume that most people who dislike Omera or this interaction do it for such egregious reasons.

As for Cara, I also mostly enjoy her as a character! She’s got a lot of spunk. She’s a badass. And Gina Carano being able to just manhandle someone like she does in Chapter 8? Phenomenal. But she has her flaws too, flaws that I don’t think I picked up on until my second or third viewing of the series. But given the way that I write Kir’manir, and especially the way that I handle Cara in that series, I’ve had to really look at the way she interacts with all the other characters in the show, and there are actually more things that bother me about Cara than there are things about Omera (which makes sense because Cara has far more screen time than Omera, but still). 

One thing that really irks me about Cara is the way that she so flippantly responds to Din telling her the repercussions of taking off the helmet at the end of Chapter 4. When she says “That’s it?” she clearly has no regard for the high importance that the Creed has in Din’s life. And you could argue that’s because she doesn’t understand it. But just like with Omera, Cara has been around Din for weeks now, and I would hope that by then she would at least recognize the significance of adhering to the Creed, even if the consequences for breaking it are not fatal. 

I also have a really hard time with the way that she treats Kuiil. Kuiil makes it very clear that the work that he did for the Empire was against his will, and that he had to work for a very long time to be free from his servitude. And yet she is still very hostile and refuses to recognize that he’s not an enemy. Again, you could argue that she’s got a lot of trauma from what she went through as a shock trooper, and I don’t want to invalidate that at all. But I think it would have been much better for her to recognize that Kuiil never posed a threat to her. He wasn’t a soldier, as far as I’m aware, and therefore he wasn’t someone that had any direct impact on Cara or any of the other shock troopers. 

To wrap up Cara’s analysis, I have to address her attempt to take Din’s helmet off as well. And I want to be clear when I say that I actually have even less respect for Cara doing this than Omera. When Omera tried to take it off, at least to her it seemed like it was something that Din was considering going through with. With Cara, even though she was trying to save his life, she knew full well that keeping to his Creed was more important than anything else. He gave up a happy life on Sorgan with Omera and the child just to keep to his Creed. He was going to leave the child there if the other bounty hunter had not shown up. Cara probably has a much better idea of what it means for Din to be a Mandalorian than Omera ever did. And the sad thing is that if Din had been too weak to stop her in any way, she probably would have gone through with revealing him without a second thought. 

Both of these female characters have flaws, and I think it’s important not only to discuss them, but to realize that other people might not feel the same way as you do about the way that these characters behave. I think we as a fandom have forgotten how to disagree without having so much aggression behind our interactions with each other, and as someone who’s been here pretty much since the beginning of The Mandalorian’s fandom, it’s really disheartening to see this so often on my dashboard. It’s the reason that I have contemplated leaving more than once in the past few months. We need to remember that not everyone is going to agree with us on certain things, and that’s okay. As long as no one is being harmed, then it’s not worth having these arguments over all the time. If you like Omera and you want to see her as Din’s love interest in Season 2? That’s fine, but you shouldn’t expect everyone to see things that way. If you think that Cara is a bad character and you want to voice your opinion about it? Great. Do that. But also please remember that this is a TV show. These are fictional characters, and in the end you do not gain anything from shaming people for their opinions on certain characters. The end. 

[raguna-blade]

So carrying on the shared symbol thing with persona games, here’s a fun one that probably needs more time in the oven but hey, can come back later with later revelations

So, here’s one that technically shows up in the first game but doesn’t really become a thing until (I am assuming, i still need to actually play the first few and finish most of them but whatever) Persona 3

Evokers! Also known as guns. Specifically hand guns, but I think that’s the least important detail when one of the big symbols of your game is shooting yourself in the head to summon mythic figures.

So Evokers. In game, and as per the wiki, they are supposed to function by more or less...making you face mortality and the fact that you’re going to die for real.

By simulating shooting yourself in the face. It’s a good thing that the Kirijo group already got their mad science comeuppance because man, that’s kinda...

But hey, the logic and rules at play here do seem to be consistent across the games. To Summon a persona requires, apparently, a huge amount of stress and or trauma to activate properly, and the Evokers are a fast way to do that that isn’t, comparatively anyway, super duper traumatic. It’s free artificial trauma for everyone that is comparatively less permanent.

Which...Well I don’t believe that for a second considering SEES is one big trauma center. I don’t think there is a single person in that group who is trauma free really. Nobody is free of it, even the dog.

I mean maybe the protag, but they come off as super depressed to me.

But for the moment let’s accept that as true. If i’m wrong i’m wrong, but I think i’m right and i want to get to the juicy stuff.

So given evokers function by applying trauma directly to the soul to summon yon persona, I think it’s obvious then what guns are SUPPOSED to represent right?

Trauma. But not just any kind of trauma no. Remember, Evokers are supposed to basically be going Hey Trauma But For A REASON. To Summon a Persona. A persona which is used to protect yourself from something (Shadows technically, but A persona is a mask used to face life’s struggles as the games are so fond of reminding us.)

So, Guns are Trauma Turned Towards Protecting Yourself from...something. My understanding of psych stuff is you know, layman, but basically it’s an active self defense mechanism. Or at least turning that pain on outside hurty things.

So if this holds true as a consistent and shared symbol going forward, we should expect that everyone who uses a gun is both

A: Traumatized in some manner.

2: Actively Defending themselves possibly by literally using that trauma against things.

Which i’m sure is totally a healthy thing to be doing. Has to be. Can’t not be right?

I can see no possible way in which using your trauma like a club against the world can possibly backfire on you.

SO!

Who uses guns in the series going forward.

In Persona 4, We have two for sure, maybe a third. That is Naoto, Adachi, and Maybe Dojima (I assume he HAS a gun, but I don’t think he’s ever shown using it. I’m going to assume for the moment this is true as fits the analysis, cause it fits well enough, but if he actually pulls it out ehh)

Persona 5 has uh...literally all of the phantom thieves. Technically not morganna, but if you think a slingshot isn’t basically a fire arm, well sure technically but also you can absolutely kill someone with a slingshot don’t get it twisted. But yeah, all of the phantom thieves and ESPECIALLY Akechi, since he uses a real one. Well, sans Futaba, but we’ll get there.

And do these individuals demonstrate being both traumatized AND using that as some kind of defense mechanism...?

yeh.

So start with P4. Now compare the other persona users in 3-5, the group in 4 is actually really well adjusted. Like yeah, you have some elements of stress and being an outcast and elements of weird harrowing stuff happening to them sure. I mean if nothing else they’re in the middle of a murder mystery with a serial killer in town, that’s stressful for anyone, let alone the weird supernatural shit on top of it, and then there’s the more mundane stressors.

But...Uh...Largely, they’re handling it pretty well actually. Protag was pretty alright moving to town and seems to get along with people well. Yosuke had the dislike of being in town but he had friends, he wasn’t really hated or anything. Chie is pretty alright, Yukiko is stressed but not exactly freaking out, Kanji has some shame going on however you want to frame that i’m told it reads different for japanese audiences though it’s not mutually exclusive, Teddie DID in fact have an existential crisis but that’s not really the same thing i think, Rise is hella stressed, and then there’s naoto who uh.

Kid’s got some problems. They’re also the only one who uses a gun So Hey First stop.

So depending on how you want to read it, Naoto is either dealing with some trans issues or just aggressive and unending misogyny given their profession. Personally while i can see the naoto is trans reading, the game doesn’t explicitly come out with that as the issue, while it DOES with the misogyny so I’m going with that. If you do think it’s more that than what i’m going with, you can easily sub it in I think since from what i’ve heard on the subject suggests it very much CAN be traumatizing dealing with that in society....And also because it’d still feed back into the misogyny thing so it comes back to that anyway.

Regardless. This is a thorny enough issue really, so i’ll strive to not fuck up but please forgive me if I do cause it’s not intentional.

What do we see with Naoto? They’re a genuinely skilled, talented and experienced detective, and at a really young age. Their skills are undeniable really, and they’ve got acclaim and real accomplishments under their belt.

They are also, apparently, belittled constantly because they’re read as female and that is apparently far far more important than their skill. Because of that they’re belittled, talked down to and dismissed purely because of that.

And Naoto is fucking tired of it. So much so that they do everything in their power to present as male and believe they should straight up just...cut out whatever lady aspects are there and just go full dude.

Which here you get two really radically(?) different readings depending on if you fall on the Naoto is Trans and so fucking tired of the misogyny vs Naoto Is fucking Tired of the misogyny and so damn desperate.

In case A, Naoto genuinely believes they’re a dude, and genuinely believes duding it up will solve their problem....But they’re rejecting that part of themselves actively, and refusing to acknowledge it at all. That’s a problem for him, if only because actively rejecting a part of yourself is by no means a healthy thing, especially when it keeps getting brought up constantly in your line of work (I can only imagine how much this would suck to be dismissed because people think you’re a girl when you’re a guy but also you’re denying that you’re a guy and recognize that even if you were outwardly a guy they would STILL dismiss you as a girl even though you’re not. Just typing that out is...yech.)

In Case B, you have a still tired of the dismissal, but also they think they radically need to change their body and gender just to get anywhere in the world which is egregiously fucked up because you know. She’s good at her job! Why should she HAVE to be a dude to get anything done? It’s fucked up.

But they’re a gunman! So...i mean i guess it’s obvious what the trauma at play here is, it’s gender related regardless of how you slice it and how is it used...? Naoto disguises (or “disguises”) themselves as a guy, actively using the thing that they’re being traumatized by to fight back against the world in some way.

I mean as thorny as the issue is in the reading it, the outcome is at least simple enough under the shared symbols thing.

Ok, but what about Adachi...? Welllllllllllllllllll

Adachi is definitely traumatized I think but it's not in the kind of way that's sharp and specific. I'm cribbing a bit off of [https://youtu.be/8qG8Mqe_1v8] with their description of how Adachi reacts to the Scoobies calling him out.

To summarize and or paraphrase, it's not that there's a specific thing that broke Adachi down. It's that he's trapped in a job he hates, or at least without the possibility of improvement. He's shoved in a backwater town when he's a city boy. He feels ignored, he doesn't like the people around him very much, he's got basically no money, he has no significant other, he has to just keep going and existing day in and day out and it's...

God it's so fucking soul killing.

It's not like his childhood was better apparently, in that it basically was a prelude to adult hood but also unlike then, he didn't have the supposed promise of do well in school and get cool shit that was summarily broken.

So what's a guy who's made to feel worthless, made to feel like a nobody, made to feel utterly disenfranchised, and has actual evidence to support some of this (keep in mind the reason he got reassigned did involve him screwing up somehow, though I don't think it's explained what or how) going to react when given the ability to act out with no consequences, or seemingly?

Well, I imagine that you would see them do some fucked up shit really. We've seen people in real life do things just as bad if not worse, and the exact way he wields his trauma is well...sadly understandable to anyone.

Though another interesting shared thing, which I neglected earlier and MAY share into the Gun Imagery is a sense of isolation. Which...Actually. Actually may track. Evokers are used by well...ritualistically killing yourself, which is for all the harm it throws out to everyone connected to you, is also a very solitary act. And in both cases here, the characters are in a very real way killing their true selves in order to deal with the world (In adachis case by presenting a fake version of himself and in Naoto's case by actively rejecting a part of themselves however you want to spin that one)

This does raise a question of the SEES gang having elements of isolation which off hand I want to say yes that's the case across the board, and only by coming together do they win but I also legitimately cannot recall how it plays out beyond the minimal We're The Only Ones Capable of Dealing With This thing which isn't quite the same thing. The ritualized killing yourself still stands so that's still in play really, and i'll keep an eye on it going forward.

I should probably ALSO keep an eye on the uh...Suicide aspects. Even looking back at Naoto and Adachi they have elements of it, although more figurative than literal. Both very much have a life is over thing related to their careers and where they end up when first introduced, so it's not an unreasonable call though the strict actual read of suicide suicide is...Hmmm...

Well I suppose Adachi's chunk of the world is accessed through the noose room if I recall, so that might not be quite as empty a connection, while Naoto's secret lab thing may not be quite as on the nose it does focus on a destruction of self in some way given the way a lot of those secret labs go about doing things in those shows.

That is, there's generally one of two outcomes. Either the Evil Org creates a mindless/corrupted pawn to use whatever their powers/abilities are for the organization (see every monster of the week) OR they create a hero/renegade warrior that uses those very same powers they were imbued with against them....Which suddenly makes me wonder if the the ambiguity of if Naoto's transness vs woman in male spaces thing is intentional in regards to how to read that section. If so that's actually clever as hell because then either way you want to read it the literal what's going on with their shadow (body modification either to become their true self and the rejection of that or to be able to actually be respected for their work and the implied destruction of self that's going on there) it reads as this is bad so...Kudos.

Anyway, off topic, maybe another day.

All this said, this leads to Dojima who SHOULD have a gun and probably does, but...never uses it that I can recall, not once. Doesn't even show up with a gun if memory serves.

It's not that he's not traumatized. He most definitely does have some shit kicking around what with the dead wife, disconnect from his daughter and all that, but he never really...weaponizes it does he? He never turns it on others, never uses it to isolate, none of that. Which is interesting because as a Cop I think we can safely say he SHOULD have a gun of some flavor right? That does seem to be the vibe, and yet he doesn't freak out. The reason why is heartfully straightforward though.

Nanako. He can't exactly revel in his hurt and lash out at folks with it. Like yes, he's not winning parent of the year at the start of the game by a long shot, but frankly emotionally distant and neglectful after your wife died but still trying (failing but trying, critically, the trying) is not the worst spot to be in, no way. And he takes to reorienting things quite well once he get's the additional stability in his life Yu and (at least in part) Adachi.

Which, really, is what also ended up saving the SEES members. Not Yu, but the fact that they managed to form genuine connections with each other that let them get past the hurt and not be taken up and swallowed by it. It's why Adachi ended up going the way he did because he really DIDN'T forge those connections, and because of the whole everything he couldn't really get out of that loop and fix himself up.

I mean Izanami's game basically threw two whole ass people into the deep end of their problems but this ain't about her right now.

So ok, that's the group from 4 and right now this is feeling pretty consistent.

So let's get to the group that has literally every party member carrying with The Phantom Thieves.

So...again, to bring it back, Guns symbolically here are weaponized trauma right? They're using that to strike back against what's threatening you, often by using it against them.

Now, there are variances with the phantom thieves for sure, and the most relevant and DIRECT one is that all of them, every last one, is an outcast of some flavor from the social norms, and this has screwed with them something fierce. Now it's not as apparent or visible in all cases, but I'll get into specifics as we go down the list, but I want to say this at the top because it fundamentally comes down to Because Of this outcast status, this particular form of trauma, they became the Phantom Thieves, and in doing so struck back against the society that hurt them, with the intent to inspire those like them.

Well not Akechi, but his specific issues at least nominally align I guess.

Anyway. I won't go into as much detail here, but I feel it's worth pointing out that their Phantom Thieves Personas are probably the cleanest way to point out how they go about weaponizing their various more personalized traumas to protect themselves and fight back.

Joker: Accused of a crime he didn't commit, sent to a city away from his family and friends, said to be a violent felon...Like it's not exactly brought up in the game in part because he's a silent protag but Joker absolutely had his life ruined. Like full stop, his world fell apart over night, not because he did something wrong but because he tried to do the right thing. And then Kamoshida happened which basically took boyo from being merely fucked over to losing what little he had left (where what he had left was a friend of a friend of his folks taking him in and shoving him in a drafty attic)

And then from said trauma he created the well...Joker Persona. Someone who emphatically is a criminal, the kind of guy who is actually pretty ominous when you consider the knife,gun and dark outfit combo making him look like some kind of assassin. That he helps people is probably a small miracle really.

But by the same token, it's blatantly clear the persona that he pretends at school is not his true self either. He has to hide himself, make himself look small and innocent and as unthreatening as humanly possible. He's not, by any means but...

Morgana: Imagine you wake up one day and you remember maybe your name, a few random bits of information, and nothing else except that you were (probably) a human and now decidedly are not. That's...Rough man. It's just rough to deal with and it's awful, and then you just keep getting hit with that fact over and over and over again. Mona's pretty straightforward, but it tracks that they would make themselves out to be the cool collected sort that they do (even though they botch it nigh constantly). If you can't remember anything about yourself, make yourself out to be the coolest smartest most talented type right?

Ryuji: He literally had an authority figure not only mock his family situation, he straight up broke his leg, killed his dream of running track, ostracized him from his friends and peers, put more pressure on his mom. He was reduced to a thug and his response to that was, apparently, let me be a (diet) delinquent then. It's not like he did anything bad really but he certainly stopped giving any kind of a shit to the world. His attitude got turned up for sure. This got more emphasized with the Actual Skull persona as a phantom thief, where he's far more intimidating, outright hostile and violent (A bat and a shotgun? yee)

Ann: I mean there's the obvious sexual assault, her friend attempting suicide, etc, but i've seen it pointed out that a good chunk of Ann's problems are also based in the fact that she's white in japan, so basically she straight up has to deal with racism too. It's why she's considered the sexy one for example (girls like her are easy you understand) so it's...well. How the game handles (or doesn't) that aside, the persona she ends up developing first off a very blithe sort of vibe to how the world views her (seen in her confidant arc) before ultimately gravitating to having more active control over her image and consciously choosing how the world will view her instead of them making the choice themselves.

Yusuke: Abusive parents (which is damn near a theme with the phantom thieves. Families being broken or Abusive which is hm) who actively stole his work, and he knew about it. It very clearly messes with his art and his relationship to this thing that he loves, and even after knowing how his adoptive dad was abusing him and other students and making a mockery of art...To which he actively throws himself into Art EVEN HARDER than before, as a dedicated fuck you on the subject. Actually straightforward, which is perhaps weird for Yusuke, but hey they can't all require deeper reading.

Makoto: Makoto's deal is a bit more complicated but boils down to She's tired of having all these expectations pushed onto her and dictating the exact kind of person she should be. Always the good girl, always kind and elegant, soft spoken, I mean she knows aikido and is supposed to be good with it. Which is why she turns that around is basically Lord Humongous, albeit less jacked dude in bondage gear and more Badass Violence Biker. Just let it all out and take no shit from anyone ever. Again straightforward enough.

Futaba: Now...Here's a weird one to say because it's...She doesn't have a gun. I mean we could probably make a fair enough statement, if an absolutely buckwild one, that she does not at this point have a trauma. Or at least, not one that is weaponized. Because well...Her issues were very self focused. She thought her mom killed herself because of her, and that almost made her (futaba) kill herself. That's not a great place to be, but it's not like she ever takes her dead mom issues out on the world. She doesn't even really take her extreme social issues out on the world. If anything she pretty much...Has them and kind of deals with them quietly.

I suppose you could say that her weapon of choice is the computer. It's no gun, obviously, but unlike everyone else up til this point she also doesn't really...hide herself. There's no fake persona (in the not summoned beings of myth and story) that she presents to the world. She's decisively genuine about everything, and pretty much the only difference between her and her Oracle persona is neat goggles yeah? Which makes her an interesting pair with Maruki who we'll get to later as another gun not haver.

Haru: Kind of a complicated one, though also kinda straightforward. She's ostracized from her father and finds the abuse that he's laying down on the people who work for them abhorent, which is bad enough, that kind of realization that your life is built on the suffering of others. There's also the uh...It's not strictly this because arranged marriages are very much business affairs more than romance, but the way it's portrayed definitely reads as her dad selling her which is you know. Not...ideal, though her specific reservations there seemed less the arranged marriage (it's business she get's it) but more the dude was an creep and also again the abuse. The family motto being betray anyone to get ahead (paraphrased to hell and back) also suggests some not so great things really, though her bond with her dad did seem to be genuinely strong, which is why her reaction is tada heroine of justice.

Which, I just realized this and I gotta point it out, actually lines up MARVELOUSLY with Morgana and Zorro. Wealthy Individual who see's the crimes and evil deeds of the world and decides to mask up and fight the crime they cannot contest with their unmasked face, warring against the system that enriched them at presumable cost to themselves because it's the right thing to do? Beautiful. Probably should look into that more. But yeah.

Sumire: I mean...I mean she basically straight up says I think I was second best to my sister in everyway and then I got her killed and her reaction to that was Let Me Be My Sister and well...yeah that's exactly how she dealt with her trauma, albeit with a little bit of magic help. And Perhaps most notably, this is almost the most explicit demonstration of Evoker Gun Antics because She Creates a Persona (“Kasumi”) To Protect Herself (alldattrauma.exe) by using that trauma (dead sister) against the world (Literally everyone else) it's...Actually a really clean example I think?

Akechi: Last but not least of the gun havers, Akechi who uh...Outcast because of family reasons (single mom, Dad's a creep) in a way that just...We don't actually ever get the details I don't think, but the way he reacts to it I think makes it clear that his whole life was basically a string of kick this kid while he's down, keep him outside the system, and of course the persona he ends up creating, both of them, end up being one the charming charismatic prince who seeks justice and a bloodthirsty lunatic, neither of which accurately reflect his true self I don't think. Aspects of it sure, but not completely. If pressed, I would say that the Akechi we see in the Third Semester is probably the closest even though he's probably a dream Akechi, being someone who does have a distinct judgement for what is right and wrong but also, critically, can and will shoot you in the face cackling as his plans come together. Rather like Joker actually, which is appropriate given their mirrored trickster roles, and the general shape of their outcomes (both get their smuggery on when things go to plan)

Anyway, the way he reacts to being forced to live an outcast is as mentioned, let me get back into that system, let me be part of it and all that.

And last but not least

Maruki: Now...He doesn't have a gun. It doesn't quite match up with the symbol thing which I think at this point is established enough that it's probably some kind of thing, but what I find interesting is that...he fits MOST of the criteria right? Definitely has a trauma that shaped how he reacted to the world and yet, it's not weaponized right? It doesn't well...evoke a different persona from him. It's not weaponized to protect him and that seems odd right? He ends up with a Palace right?

Sure. But I want to go back to what i'm proposing the Evokers Represent.

Trauma, A Destruction of the Self (Suicide literal or figurative), Isolation, and weaponizing your trauma to protect against the world...And he only actually tracks to the Trauma part of that. He IS hurt for sure, no question. He is fighting back against the world in his own way for sure, what with Azathoth and his mind whammy, and I would say that the nature of it is directing how he's doing things (no more pain for anyone yeah sure)

But where it falls apart, and actually DOES line up with the guns as metaphor for those things mentioned, is that he doesn't really Isolate. He doesn't present a fake self to protect himself. He doesn't destroy an aspect of himself to protect himself. No, he's extremely upfront that “No this is bullshit, it should change, fuck this noise, I'll do what I can with what I can and oh hey godlike power now I can help everyone”

Which cool, except that apparently in the Stay in Maruki's world ending he kinda fades into the background, which suggests the self destruction but no, not even then really. Like I know I made a bit of meta about him obscuring himself and kinda fading away as a person, but I don't think it's strictly meant to be get rid of yourself so much focus on the message and not the messenger. You can throw your mask away. No more pretending. You don't have to hurt anymore. As the song goes.

And it's worth pointing out that, in comparison to literally everyone else on this list, Maruki is unambiguously a healthier person mentally by a long shot. Shady antics with Sumire aside, He genuinely wants to help people, he want's them to be better the right way ideally but if he had the means to do it of course he'd just hot delete those deeply traumatic and life shattering pains that they couldn't overcome. Then he does get that ability. And Then he does do that.

Anyway, the ramblings on long enough, and I kinda feel i'm drifting, but yeah. Think this is another symbol that tracks (I probably wanna check out Persona Q and Q2, but what I know on those does have it break down a bit but they're also not mainline games so I'm not sure how to square that so....)

[ihavethoughtsplural]

Blood and Chocolate: An Adaptation in Name Only

Previously: Section 0 - Introduction

Section 1 – The Book

Preface: The 1997 novel Blood and Chocolate is DENSE.  The paperback only spans 264 pages, but the story follows the coming of age of a dynamic and flawed female protagonist, encompasses ancient werewolf legends and laws, goes in depth into lycanthropic politics, and also features a love triangle, a teenage soap opera, a forbidden romance, and a goddamned murder mystery.

Summary: Vivian Gandillon is a 15-year-old werewolf.  A year after her father was killed in the fire that destroyed their home, Vivian is lost and grieving while her leaderless pack falls apart in the Maryland suburbs that they fled to.  Aiden, a tall, gentle human classmate attracts her attention and presents Vivian an escape from the tangled, animalistic world of werewolves.  Keeping her lycanthropy secret, Vivian begins to date Aiden, defying the laws of her people.   Vivian is pressured to break things off by her mother, her five delinquent age-mates, and the would-be leader, Gabriel. Gabriel, a 24 year-old welder, is attractive, intimidating and the object of intense romantic competition.  He, more than any other, tries to convince Vivian that her dalliance with a human is dangerous, eventually revealing that he speaks from painful personal experience. The story twists and turns, tearing Vivian and Aiden apart while pulling Vivian and Gabriel together.  In the end, through many trials, Vivian discovers that she can’t escape either her human or her animal nature, and must embrace both.  

Themes: Vivian’s central character arc finds her struggling with what she wants as opposed to what she needs.  At the opening of the novel, Vivian wants to escape the violent chaos of her pack, with its painful history and uncertain future. She finds that escape in Aiden, with his Beaver Cleaver family, his lovably quirky friends, and his sweetness and simplicity.   However, when the time comes to reveal the hidden aspects of her identity, Aiden can’t handle it.  Despite his supernatural curiosity, he cannot accept the supernatural when it presents itself to him.  His rejection sends Vivian into a tailspin of self-destruction that only ends when she accepts the love that Gabriel is offering, a love that honors all of what she is.  To ultimately find happiness, Vivian had to give up what she wanted and embrace what she needed. In addition to this, there is also a great deal of time in the novel spent contrasting the human and the animal sides of Vivian’s nature.  Her two suitors Aiden and Gabriel represent, respectively, the human and the animal. Scenes of Vivian socializing with Aiden and his human friends are juxtaposed with scenes of Vivian’s werewolf pack brutally vying for dominance.  The very title of the book is a reference to this dichotomy, Blood – representing Vivian’s animal desires, and Chocolate – representing Vivian’s human longings.   Throughout the novel, Vivian swings between these two extremes, at one point drinking herself into a heartbroken stupor over Aiden, then blacking out and waking up in her bed next to a severed hand. She tries, in her romance with Aiden, to balance her human and animal sides, but she only achieves that balance with Gabriel, a partner who also exists in the grey area between man and beast.

Highs: These are the aspects of the novel have captivated my imagination and kept this book in my collection for so long.

o   Werewolf Society:  It’s a damn shame that Klause hasn’t written more stories within this framework, because it is absolutely ripe for exploration and development.  The enormous potential here is one of the primary reasons why this book has held my fascination for so long and why I have written so much (published and unpublished) fanfiction for it.

o   Flawed Characters: No one who’s read the book will tell you that Vivian is perfect or even likeable 100% of the time, but it fits with her characterization as a grieving, lost teenager and serves to make her all the more like an actual person.  Most of the characters are like that, with their good qualities balanced or sometimes overwhelmed by their less savory sides.  It makes the fictional world feel richer and more realistic, despite the supernatural elements.

o   Consequences: The characters in this novel make real, awful mistakes, and they face lasting consequences for them.  One of Vivian’s mistakes – maiming Astrid while defending her mother, directly leads to Vivian’s ex, Rafe, getting sucked into Astrid’s revenge plot, leading to Vivian being framed for murder and the eventual executions of both Rafe and Astrid, during which Vivian is accidentally shot by Aiden.  

CONSEQUENCES!   They make the story more believable, more suspenseful, and this novel, with its cast of flawed characters, would not have worked without them.

o   Assertive Female Protagonist: Vivian is refreshingly frank about her desires, which is very noticeable in her courtship with Aiden.  Aiden assumes that he has to advance their physical relationship slowly so as to not frighten or offend Vivian, while Vivian urges him on.  She doesn’t hesitate when going after what she wants, and she’s not ashamed of her sexuality.  It’s a welcome change from the restrictions that western society places on female desire, and I’d like to see more characters like her.

Lows:  Blood and Chocolate is far from perfect, but, in my opinion, there are three glaring flaws in this book, and I would be remiss if I didn’t address them.

o   The Esme Question: The first point is one that, once seen, cannot be unseen. Vivian’s mother, Esme, is one of the women competing for Gabriel’s affections at the beginning of the novel.  It is established that they go on dates (“Saw your mother go into Tooley’s bar with Gabriel last night.” p. 18), but Klause is not explicit about how far their relationship has gone.  This ambiguity leaves open a potentially disturbing possibility:  

It is canonically possible that Gabriel had a sexual relationship with Esme and then moved on to sexually pursue her daughter, Vivian.

Personally, I can reasonably believe that Gabriel and Esme never progressed beyond idle flirting because:

a.       Vivian strikes me as the type of person who would mark her mother’s sexual partners as “off limits”.

b.       Up until just past the Ordeal scene, both Esme and Astrid are still fighting over Gabriel, implying that neither of them had really “won” him.  

c.       The possibility outlined above seems like it would be a bridge too far to be included in a YA novel, especially in the 90′s.  

Your mileage may vary.  I’ve seen reviews of the book whose negative ratings hinge on the fact that Gabriel dated Esme at all, irrespective of whether their relationship was sexual or not.  Honestly?  I can’t blame them.  If the mere existence of this possibility squicks you out, then it’s likely going to sour the ending and ruin the rest of the book for you.

o   The Age Differences: The second point is the least defensible. At the end of the novel, Vivian is 16 and Gabriel is 24.  That minor/adult 8 year age gap constitutes a “yikes” in my part of the world.  Klause skirts this by establishing that werewolf society has some stark differences with human society, namely that a 16 year old female is considered an adult by werewolf law.  This is still a rather uncomfortable detail to be included in an American YA novel, and the older I get, the more uncomfortable it becomes.

In addition to the Vivian/Gabriel age gap, there is the even wider Astrid/Rafe age gap. Rafe is Vivian’s ex and age mate, although there are reasons to assume that he is slightly older than her.  This places him somewhere in a probable 16-18 age range. He is canonically younger than 21, which makes him, according to werewolf law, not yet an adult.  Astrid has a son who is also Vivian’s age, which places Astrid somewhere in her late 30’s to mid 40’s.  In the book, Astrid and Rafe have a sexual relationship.

To be fair to Klause, this is framed in the novel as being toxic and ultimately destructive to both Astrid and Rafe.  Near the end of the story, Rafe finally realizes that Astrid has been taking advantage of him, turning Rafe, in my opinion, into a tragic victim of manipulation.  

Let me leave this segment with a PSA:

If you’re reading this and you’re underage, please don’t enter into a “relationship” with an adult.  The adults in these scenarios in the real world are predators, and they’re preying on your inexperience and naïveté.  They know that you probably won’t recognize relationship red flags and they think they can pressure you into doing unsafe and unhealthy things in the name of “love”. Stay safe, kids!

o   Sexual Harassment:   My third and final low point is one that I have very mixed feelings about.  As a result, this is the longest segment of this post, so strap in. In the novel, many of the interactions between Vivian and male characters are inappropriately sexual.  The most egregious offenders are the Five, Gabriel, and Aiden’s father. The Five, Vivian’s male werewolf peers, are crass, rude and arrogant.  Led by Rafe, they display a lot of entitlement for Vivian’s affections.  The most pointed (and gross) of these displays happens on p.41:

“You’re not Princess Wolf now,” Rafe growled behind her.  “Wait too long and we’ll take what we want.” 

That?  Yeah, that’s a direct rape threat!  Rafe also goes on to grope Vivian at her birthday party.  He’s a peach!   Gabriel’s harassment mostly takes the form of unwanted advances.  It peaks after the Ordeal, the battle royale where Vivian accidentally wins the right to be Gabriel’s mate.  In the aftermath, Gabriel corners Vivian in her kitchen, forces a non-consensual kiss on her and declares his intentions to court her.   Aiden’s father is notable in the contrast he provides.  Vivian only interacts with him once, when Aiden invites her to a family cookout. During this scene, he repeatedly leers at her, makes suggestive comments and on p. 79:

Vivian could hear the innuendo in Mr. Teague’s voice.  It made her skin crawl.

However, if you compare Mr. Teague’s harassment to Gabriel, the Five and others, you’ll find that there is a significant difference in Vivian’s reaction.  Vivian isn’t afraid to bite back at the Five’s harassment – scoring vivid revenge for Rafe’s groping when she injures his genitals.  She tries to do the same to Gabriel when he forces a kiss on her, but he relents on his own.   We see a similar dynamic when Esme snaps at Bucky, another male werewolf, who catcalls her in a bar.  This forms a pattern which suggests that forceful sexuality is a feature of werewolf culture.  Vivian confirms this the first time that she and Aiden kiss on p. 51:

“He was gentle.  She hadn’t expected that.  Kisses to her were a tight clutch, teeth, and tongue.”

And this is where my mixed feelings come in. I don’t condone the harassment that Vivian experiences, but I understand why Klause wrote it.  Any author writing inhuman characters can’t simply tell us that they are inhuman, they have to show it.  The forceful sexuality of the werewolf characters in this book is one way that Klause clearly shows that they are NOT human and serves as a contrast to the human characters.   But where does Aiden’s dad fit into this?  His harassment is milder than the Five’s or Gabriel’s, but it disgusts Vivian in a way that the other harassment didn’t.  Why?  Sexual harassment seems to be a constant feature of her pack life.  This isn’t even the only time that an older man leers at her – on p. 115, in the same scene where Esme gets catcalled:

Some of those male eyes strayed to Vivian, too, and she preened at the thought of being a threat.

That’s a far cry from the skin-crawling disgust she felt with Mr. Teague, but it’s basically the same offense.  What’s different?  We find it in a conversation with him on p. 74:

“I would think a girl like you would go out with someone older.” He winked at Vivian. Like someone your age?  Vivian thought, repelled by the man’s lack of loyalty to his son.

Vivian’s disgust stems from the fact that the man flirting with her is her boyfriend’s father.  She’s shown to welcome sexual attention from other older men, and she has no problems handling more overt harassment, but the paternal disloyalty sickens her. The overt sexual harassment is there, and if it makes it impossible for you to enjoy the book, I don’t blame you.  Your feelings are valid, and I’m not going to tell you that you’re wrong.  Personally, I understand the authorial reasoning behind its inclusion, and its utility as a characterization tool, so it doesn’t prevent me from enjoying the story. Your mileage may vary.

Verdict: The 1997 novel Blood and Chocolate is flawed, but fascinating.  It sets multifaceted characters into a tantalizing world of men and monsters, where the line between good and evil is blurred into nonexistence.  It is, despite its problematic elements, my favorite book.

Next: Section 2 - Adaptation Challenges

[transsexualhamlet]

Trans Headcanons

Ok I’m going to make a giant post about this because it’s one of the few things I can actually address, as a trans person. Obviously I cannot speak as to the opinions and experiences of all trans people, but I’m just gonna give you my take.

So obviously in fandom lots of people like to headcanon characters as trans, and in general I think that’s a fantastic thing as well we’re not exactly swimming in representation. But what comes with cis people tryin to write trans characters is that... things get... problematic. Quick.

Headcanoning male characters as ftm

I am this variety of trans so I get excited when people headcanon ftm but I’m almost always completely disappointed.

First off I need to address the “people” who headcanon male characters as trans ftm for that Spicy Fetishization. This is generally, I’d say... more than half of trans headcanons I come across in fics at least, and in this context is used solely for sexual purposes which is disgusting so stop.

Of course it’s ok to write trans people having sex, because well, trans people have sex, but cis people don’t realize that dysphoria plays a huge part into what people are comfortable with. So just a fun fact I feel like it should be obvious trans guys aren’t gonna want to have sex like they’re a straight female, and trans guys are not all bottoms.

I would also like to address when headcanoning a male presenting character as ftm is good or bad rep completely without the sexual element because cis people seem to have a fundamental misunderstanding of Trans Vibes. I’m gonna use mostly ons examples so hang on tight.

Problematic, bad characters to headcanon as trans- 

-Yoichi

-Mika

-Shinya

I see an egregious amout of these, and the pattern for this is somehow, cis girls see a feminine boy and think that they’re a good person to think is trans. No. This is the opposite. These three characters in ons are some of the more feminine guys, and therefore come off as gay, in a cis male way. Trans guys generally do not act like that, and although there are plenty of feminine trans guys, they do not behave like that. 

Addressing the problems with people saying Mika is trans- People don’t understand dysphoria. He has always been very feminine, and in the case that he was trans that would just. Not work. You could look at that boy and be asking what gender even is he if you didn’t know, and generally trans guys aren’t for that. 

With Yoichi it’s even more ridiculous. He’s one of the worst characters I could think of to view this way, as this pushes the most UwU Soft Boi fujoshi shit onto him. If y’all aren’t aware the fetishising girls really invalidate trans folks by assuming they’re all basically the stereotype of Yoichi- small, awkward, shy, complete pushovers, and just. Nah. Same really goes for Shinya, because though he’s more confident he’s very cis gay guy and making him trans pushes the same “make the more feminine person in a gay relationship trans”. Stop it.

If you had to headcanon someone as ftm in ons I’d say some of your best options would be probably

-Kimizuki.

-Yu (though there are many conditions because he’s a victim of a lot of the fujos in fanfic with this.)

I’m trying to think of more but to be honest, that’s your best bet. If you want to go with someone else, Guren might be ok, it would just be harder to explain.

Kimizuki is the best one out of all of them to be headcanoned as trans because he breaks the problematic stereotypes, and if you think about it would make much more sense than the characters ppl usually say are trans.

He is a character who’s fairly obsessed with presenting masculinity and trying to be the strong one in the group, which is a very trans guy thing to do, and it would be the easiest to explain without going through hoops like characters that have a lot of backstory would. He doesn’t look or act feminine at all, but he has more feminine skills like cooking, and he feels ashamed of those aspects of himself even though he shouldn’t. Those are the kind of things that make someone go “that would be nice rep”. Also his hair is dyed pink, like what cis person does that?

With Yu, I see many more people in fanfic try to use the trans thing for him, and out of the context of shipping I think that’s perfectly fine. He is a very relatable character for ftm gremlins like myself and it’s reasonable to say that, although there would need to be a few adjustments for taking into consideration at one point he would have presented as female, probably during his time in sanguinem. That doesn’t really present any problems if you just adjust accordingly. Guren would be cool with “hey dad i’m a guy” and I think that would be pretty epic. But when taken into the context of, well, mikayuu shipping.

To be frank, most of the trans!yuu fics that exist are straight up just for fujos to go “hey look at this gay bottom he’s trans so he’s basically a girl and watch him act like a girl during sex” stop it. Stop it please. 

On trans girls

obviously, I am not a trans girl, and I know like. one trans girl. total. So I don’t have as much insight on this as trans ftm but some of this stuff is just common sense.

First I need to address the obvious, the phenomenon that is apparently such a thing in anime and manga for no good reason. The “this character who has a female voice actor, dresses and acts completely like a girl but is stated as male for some fucking reason” is just... hhhhhhhhhh. I think the only reason these exist is some weird japan fetish but I’m not fond of it. Headcanoning these characters as trans girls is in fact completely fine and I’d encourage it, unless them being male is actually somehow an integral part of the plot.

In the case of Asuramaru, I’d say absolutely go ahead. It makes even more sense with this character because Asura used to go by a different name and dressed much more masculine back in Ye Olde Greek Dayes but now has this demon glow up with a much more feminine look, a literal dress, a crown, hair down to their ass- that’s honestly the most valid thing you could say. 

In the case of characters presented as female in canon, it’s much more difficult than trans guys because of how girls are presented in anime and manga. And by that I mean,,, hyper sexualized and misogynistic. 

In this case I’d always say ask someone trans before jumping to conclusions. Also be wary of the “this is a masculine girl, she must be trans” because well. Again, masculine trans girls are valid but that can’t be your only reasoning PLEASE. I’ve seen trans Mito before in a fic, and tbh that’s ok, but only if you know what you’re doing with it. It can be explained pretty well with her, since she used to present as hyper feminine and pretty comphet with the guren thing, but she’s calmed down in vampire reign and I think if that has to do with her starting her transition at like 16, that’s totally fine. But that has to be handled with care, and be aware that she’s like. The most masculine girl in the series. She doesn’t wear a skirt like literally every other girl in the show, she uses physical force and her fists to fight instead of a weapon or magic, and she’s extremely headstrong. Although it would be fine if she was trans, those aspects of herself are not what would make her so, since even though it would be epic those things could cause dysphoria.

On nonbinary headcanons

These are significantly less problematic than a lot of other types, since they’re generally made by people who know what the hell they’re talking about. And there’s really no parameters for nonbinary people, so if you see someone who gives off No Gender Vibes go ahead and sprinkle in some they/them!! They don’t even have to look androgynous, though if you see a strictly single gender presenting character and want them to be enby prepare to have some explanations. Good examples of this would be

-near from death note, that gremlin wears nothing but pajamas and proceeds to grow hair down to his ass as an adult, plus the austistic coded bit... we don’t have a concept of gender tbh

-practically any demon from ons but raimeiki or gekkouin, they all just have the best vibes

-Shikama Doji, you think that bitch knows what a gender is??? Got lost in the wings pal

Just be aware of the differences needed between thinking “this person is presented as __ canonly and that is in fact their sex just not their gender” or “this person is trans fem or trans masc but isn’t strictly male or female” because those are different.

Bottom line? Ask a trans person, and don’t write a trans person just for their body.

[protectwoc]

thots on little women (2019)

or, y’all are giving greta gerwig too much credit (part two)

The character arc that was changed the least from the source material, but that still manages to personally offend me the most, is, of course, Amy’s. It’s no secret that Gerwig is an Amy stan, or at least more of a fan of her than most people. I am as well, which is why I am so disappointed with this particular arc.

It’s honestly more disappointing because Gerwig handled parts of Amy’s arc extremely well, namely, her relationship with Laurie. Gerwig did an excellent job of making Amy and Laurie’s relationship feel less like a consolation prize since Laurie did not end up marrying Jo and more like a fully realized and reciprocal relationship, arguably more so than Alcott herself. HOWEVER, and this is a big however, the Amy/Laurie relationship is not the only important part of Amy’s characterization in the novel, and unfortunately, it is in the movie.

Amy starts out the novel as a selfish twelve year old girl, which is evidenced in no other but the infamous book-burning scene. However, throughout the novel, she grows out of that selfishness and into a more selfless, self aware woman. (Again, whatever your thoughts on “learning to be selfless” as a trope in women’s narratives are not necessarily relevant.)

For example, in the first half of the novel, one of Amy’s most notable chapters deals with pickled limes. For anyone who only watched the movie or doesn’t quite remember the book, a short summary:

Amy, the only one of the March girls who attends school, is upset because the girls in her school have been trading pickled limes. The limes are seen as a status symbol, which can be traded for little trinkets, bestowed upon favorites, or indulged in in front of your enemies. The pickled limes trend has become so popular that the teacher, Mr. Davis, has banned them in the classroom, which has done nothing to curb their popularity. Amy, who is relatively popular among her classmates regardless of her relatively lower class status, has been gifted several limes but had no way to return them, is greatly “in debt.” When Meg gives Amy enough money to buy a whopping twenty-five pickled limes, she flaunts and preens her way around the classroom until a girl she snubbed tattles to the teacher and gets all twenty five limes taken away.

This scene is a good example of the beginning of Amy’s arc of overcoming her one major personality flaw. It shows how her selfish nature is really just immature behavior, and as she ages, she matures out of that childishness. Another good example of this arc happens when Beth contracts scarlet fever. At first, she complains, saying that she would rather contract the deadly disease than to go to her Aunt’s house, but as she remains there, we see her mature and even grow fond of Aunt March. Her personal arc independent of Laurie was a big part of Amy’s plotline, and it was unfortunately left out of the movie.

The most glaring example of this is the omission of one of the most important scenes of Amy’s arc in the book: the occurrences at the fair. Again, indulge me in a brief summary for those who won’t know exactly what I am talking about:

The mother of one of Amy’s friends, Mrs. Chester, holds a three day fair for all of the girls in Amy’s social circle. As Amy is the most talented and most well-liked of the girls, she has the best table at the fair, at the very front, where she is to sell her beautiful artistic creations. However, her friend, May Chester, is jealous of her, and seeing this, Ms. Chester takes the table from Amy and gives it to May, relegating Amy to the back corner to sell flowers. At first, Amy is incredibly upset, and takes all of her art back to the table with her, however, after talking with her family, who are properly indignant on her behalf, she resolves to be gracious and humble and gives her own drawings to May to sell. Seeing this, Jo tells Laurie to take all of his handsome, college-aged bachelor friends to Amy’s table, which he does, and they spend the entire next day of the fair flirting with her and buying every one of the flowers from Amy. On the final day of the fair Amy, who has entirely overcome her own selfish wishes, tells Laurie and his friends to go do the same to May. This string of selfless acts is seen by Aunt March and Aunt Carrol (who in the novel has half of Aunt March’s role in the movie) and is the premier reason behind Aunt Carrol deciding to take Amy to Europe instead of Jo.

Leaving this scene out of Amy’s narrative in the movie is, I think, unforgivable. The inclusion of this scene would have exponentially improved Amy’s arc, for three major reasons:

This scene is the culmination of Amy’s “selfish to selfless arc”. Again, regardless of your opinions on whether this is a good lesson for her to learn, it is an arc, and as the movie stands currently, she simply doesn’t have one. The occurrences at the fair show her finally growing out of her childhood vices into the mature woman we see in Europe, and to exclude this scene does her a disservice.

Prior to her trip to Europe, this is one of the only scenes in the novel where Laurie and Amy have any sort of interaction. If Gerwig wanted to more fully develop the Amy/Laurie romance I cannot imagine the logic behind leaving this scene out. It would make the romance seem less rushed, which has been a common critique of their love story since the book came out, and would even  provide context for Amy’s “Not when I have spent my entire life loving you” line which Gerwig added to the narrative.

As previously mentioned, this scene is one of the main reasons behind Amy being allowed to travel to Europe with Aunt March/Aunt Carrol. Within the movie, this reasoning is less obvious, especially given the fact that Aunt March had already told Jo she would take her to Europe, and the inclusion of this scene would have made the trip feel more earned for Amy.

Greta Gerwig has made no secret of the fact that she both a feminist and a fan of Amy March. I am both of those things as well, which is why I cannot understand her logic behind robbing Amy of a complete arc. In the movie, the most important parts of Amy’s arc are all tied to a man. Even that arc is not as fully developed as it could be. Gerwig did a magnificent job with Amy’s overall likability, but that is not the same thing as writing a fully realized arc for her.

But even though Amy is my personal favorite character, and I am more personally invested in her arc, Gerwig’s mishandling of Amy is not the most egregious sin committed in this movie. That honor is reserved for Jo’s arc.

Part Two: Jo

A Buzzfeed article entitled “The New ‘Little Women’ Makes Space for Jo’s Queerness” claims that “Gerwig’s adaptation, without being too explicit about it, does gorgeous justice to that [queer] reading.” An Advocate magazine article called “Greta Gerwig Brings Out the Inherent Queerness of Little Women” makes the bold claim that the 2019 Little Women “offers the queerest and most feminist reading yet.” An even bolder declaration by them magazine says that “The New Little Women Basically Proves Jo is Queer”. Gerwig has been lauded both by critics and by her own actors for creating an explicitly queer narrative for Jo March. 

As previously mentioned, I do not generally read Alcott’s Jo as queer. However, upon my first encounter with this headcanon, I could immediately see why so many people did see her this way, and why this interpretation is so beloved. Jo has a lot of non-stereotypically straight traits that have made her something of a queer icon in many progressive literary circles. Both the way she bemoans being “born a woman” and her intense desire not to marry spoke to a lot of queer or non-cis readers, many of whom were excited to see her portrayed this way on the silver screen. And though I am not particularly attached to this headcanon, as a bi woman, I too was excited to see her that way.

And then… I didn’t.

Look, I hate to burst y’alls bubble, but there is literally not a single second in the movie where Jo is anything resembling queer. At best, she could be read as aromantic/asexual, but that’s about it. (Note: Obviously I don’t intend to imply that being aro/ace is somehow “lesser than” being L G B or T, but obviously the form of queerness people were expecting is one in which Jo is explicitly attracted to women.) There are no subtle looks in the direction of another woman, no scenes in which Jo expresses any negative emotion towards the idea of marrying a man specifically. She doesn’t even have a single female friend outside of her sisters.

One of the reasons the 2019 Jo (and by extension, Laurie), have been hailed as queer icons is their relative gender fluidity. Jo and Laurie exchange clothes throughout the movie, which was intended to display their “gender fluidity”. I knew about this particular facet of the movie before going to watch it in theaters, so I was looking for these occasions specifically, and I still couldn’t tell that they were supposed to be gender neutral. Maybe that’s just me, because I don’t know a lot about civil war era clothing, but whatever.

The other reason that Jo is considered queer in the movie is her rejection of traditional Civil War era femininity. She doesn’t want to get married, and she has no interest in “girly” things like dresses or parties. But neither of those things are specifically queer. Being “not like other girls” as your premier personality trait is not queer, it’s just garden-variety misogyny.

Even Jo’s big scene where she laments her competing desire to stay unmarried and her intense loneliness, has nothing marking it as explicitly queer. “I’m so sick of people saying that love is just all a woman is fit for,” she bursts out. Love. Not love for a man. Not even marriage. She is decrying the entire concept of love.

“But Rae,” I can hear you asking, “what about the ending, where it’s implied she doesn’t marry Professor Bhaer and gets to publish her novel?” To that, there are two important things to consider. One: the ending is intentionally portrayed as optional. Even though it is heavily implied that Jo did not go off and get heterosexual married at the end, it is possible to ignore that ending or do some light mental gymnastics to make the two versions of Jo’s ending coincide. And I’m not just saying this as a worst-case-scenario, I actually have seen people do this, in fandom and my own life.

Secondly, even if you take the ending as completely factual, we still have all the scenes involving Bhaer previous to the ending to give some hint of Jo’s sexuality. We never see her even look at another woman, but she flirts with Bhaer and blushes when he looks at her and asks for his opinion on her work. Even ignoring the straight-as-default setting of most casual viewers, canonically, Jo has only ever shown interest in men. One man specifically, but still.

“But she could still be bi/pansexual, or suffering from compulsory heterosexuality,” I hear. And this is basically the crux of my argument. In fandom, you don’t have to assume straight as the default, and it's probably better not to. Bi/pan headcanons for “straight” characters are a good, positive way of adding to a fandom culture. However, when it comes to canonical representation, the opposite is true. Representation is not representation if it is not explicit.

I’m not saying that queer viewers cannot feel represented by Jo in this movie. I personally  feel represented by Hermoine Granger as a black woman, due to her “wild, bushy hair” and her penchant for social activism (SPEW). However, I cannot give JK Rowling credit for that representation because she had nothing to do with it. She did not do any of the hard work to actually make Hermoine a black woman. In the same way, we cannot credit Gerwig with adding queer representation to Little Women, because she didn’t.

Conclusion: The Response

I know reading this essay probably makes me seem like a Greta Gerwig-hater or like I disliked the movie. Both of those things are untrue. As previously mentioned, I loved the movie. I’ve watched the Amy/Laurie scenes of the movie like a hundred times already. I also don’t hate Greta Gerwig. This is the only movie of hers that I’ve seen, but I heard all about Lady Bird and its popularity, and I think the directing of Little Women was excellent. The fact that Greta Gerwig is a very talented filmmaker is not necessarily an arguable point.

I don’t believe that Gerwig had to fully develop any of the sisters. I don’t even think that Gerwig is required to add queer representation (or racial diversity for that matter) to her movies. Greta Gerwig decided to adapt an extremely white, cishet Civil War era book into an extremely white, cishet Civil War era movie. Hot take time: she is entirely in her rights to do that.

BUT. The thing that bugs me the most about the movie, and is basically the impetus behind me writing this essay, is the response to the movie. For whatever reason, Gerwig’s Little Women adaptation has been deemed more “woke” than it actually is. Little Women (2019) has been lauded for its strong female presence (even though there are only white, cis, straight women), for it’s development of the other, non-Jo sisters (even though it doesn’t), and for giving its lead space to be queer (even though she isn’t).

Greta Gerwig made an excellent film, but she did not do anything that has never been done before. I liked the movie, but I’m not about to go campaign for Greta Gerwig or the movie to win an Oscar. In general, we need to be less willing to acclaim those who do the bare minimum.

Again, I’m not good at writing conclusions. At a certain point I’m going to just start repeating myself, so I’m going to go ahead and cut myself off now. Again, if anybody has any opinions on this, agree or disagree, please come talk to me about it! I’d love to hear any other thoughts.

[vaguely-concerned]

The Untamed Liveblog

Yes hello I watched the whole thing and wrote down some of my thoughts and feelings along the way so I wouldn’t fuckign EXPLODE! Only look under the cut if you’re prepared for a truly outrageous amount of rambling (...no really)  

- I am elated to find that so far every adaptation I’ve seen has faithfully preserved the absolutely bizarre structure of the original book, I am appreciating the dedication haha

- the actor lends this version of lan wangji such an edge of youth and vulnerability right from the beginning, it breaks my heart. I don’t care how good he is with a sword, you can’t expose this pure sweet boy to the horrors of war!!! 

- I am so glad I already know who all these characters are and wtf is going on, I can’t imagine watching this first time without that knowledge lol 

- I love how they’ve made nie huaisang look so small and soft next to all the other cultivator, he looks like a floofy and eternally confused baby birb ;______;

- nhs citing the goldfinch as the reason he doesn’t want to die (presumably because no one will know to take care of it) TOT ur meant to be comic relief in this part of the story buddy you can’t make me cry like this yet!!!

(also the actor for wwx effortlessly sliding into being protective and reassuring and Good in a crisis. wonderful!)

- the actor for xue yang has chosen to go with the sexy baby school of evil acting normally associated with female villains and for that I can only applaud him

also setting up characters who are going to be important later on is something this show is doing better than the original haha, both the extra wen quing & ning and song lan & xiao xingcheng content is appreciated. (especially the latter suffered from ‘oh yeah those two -- actually wait who the fuck are these two again’ syndrome for me when I read the book. additional note: I am very sorry but clearly they are gay there’s no other explanation here)  

- poor jiang cheng, they really haven’t given him much help in this huh. I would sort of have preferred it if they let him be ever so slightly less abrasive in the beginning, like in the book and the animated version; I’m not feeling quite as devastated over this relationship as I did in either of those.

- lan xichen’s soft knowing smile is a blessing every time. just a nice man. did not deserve this. protect.  

- kudos to the actor for jin guangyao for the instinctive creeping unease I feel whenever he talks, even at this stage. he’s a wrong ‘un sir he’s a wrong ‘un

- y’know both the fact that nhs spent three days catching a bird and kept it with him undetected and that he’s the friend you go to for the good porn and managed to not only smuggle it into the cloud recesses but did so without getting caught... some wonderful subtle foreshadowing here (to make up for the very blatant visual foreshadowing that’s already been given out I assume lol)

- anyway lan ancestor lady and baoshan-sanren? gay. sad and gay. (I love how thoroughly wwx is getting to meet the in-laws btw lol how often do you have to meet your future spouse’s family from like three generations ago and take care of her rabbits for her after she’s gone, all before you even get to second base)

- fkadshfkasjdlhfsdjkfh the sheer consistency of nhs wistfully commenting on all the beautiful men surrounding him fsadfkjsdhfksd I think they might oh so subtly be hinting at some stuff here. HILARIOUS that this version, which has to maintain at least the veneer of some plausible homoerotic deniability, is a lot more overt about it than the book, which is free to be balls to the wall as gay as you please  

- oh no nie mingjue just showed up my entire heart is on fire. BIG BROTHER!! so stern yet fair, so righteous, so worried y______y also can we talk about how his ‘hmmm I think imma stab it?’ approach to evil in general and xue yang in particular would have saved everyone a lot of grief later on? and he tells wwx the whole necromancy thing is probably not a good idea? (I really like how he does it too, he has so much Older Brother Energy it spills over when he talks to other kids around huaisang’s age lol. it’s good that they show his temper isn’t indiscriminate at all, he’s not angry at wwx even though his idea is provably incredibly dangerous) sole ornery voice of reason nie mingjue, also did not deserve what’s about to happen, I cry and my tears are blood  

- ‘yeah okay I get that you’re mad but have you maybe considered... I didn’t do it?’ is an unusually weak opening move from jgy considering nmj literally did just see him absolutely 100% do it

- there should be a WARNING at the beginning of episodes where nmj cries so one could be PREPARED for the emotional devastation!!!!! tollest & stronkest man of the cast also stupidly pretty and heartbreaking while crying, it’s not fair

- I love how every cultivation sect’s home (except for the wens b/c they’re cartoon villains) is refined and beautiful and luxurious, even when it’s in a restrained way like the lans’... and then there’s the nie place which is like ‘please understand that this is a fuckn fortress’

- aww this doomed jiang cheng/wen quing thing is cute! too bad about... everything that’s about to happen happening huh

- oh wen ning.  very hilarious that he’s known as the ~*ghost general*~ forevermore when actually... he is baby... cinnamon roll baby... too good for this world, too pure...

- how is this cgi turtle somehow less egregious than the one in the animated version lol. I quite like this bad little friend! long neck.

- oh NO lan wangji finally letting himself show that he’s in pain when they’re in private... i’m uwu  

this beautiful boy is so long and lanky tho, I must admit he triggers my parental instinct more than the hot boy alert at this stage (but that’s fine I’m not the one who’s going to smooch him that’s wwx’s job lol)

the look of absolute disbelief and despair lwj gives when wwx thinks he’s in love with mianmian... this show is a cinematic masterpiece and I will hear no other opinion  

- lwj looking at the love of his life completely missing the point: are you a joke to you (the answer is yeah)

- okay we’ve officially hit the point where everything’s about to go to hell for real, pray for me I’m not sure I can handle this again

- jiang fengmian acknowledge your other son who desperately wants your attention and affection challenge (unfinished)

- watching this scene knowing exactly what this promise means to jiang cheng and that wwx is going to break it... this is fINE

why the fuck did I do this to myself I know what’s about to happen when will I learn to quit while I’m ahead lol

- the change in subtext from the novel that EVERYONE sees wangxian coming from day one is so painful from jiang cheng’s side. this poor boy really has abandonment issues pelting him from every direction huh. tfw your idiot genius brother doesn’t even fucking realize he’s basically announcing he’s leaving your clan and your side to get married one day ;______;

- man mxtx is just so GOOD at peppering in the small private tragedies that somehow sting even worse than huge atrocities going on. the fact that madam yu and papa jiang never manage to reconcile and communicate except possibly in death... oof my friends. oooof.

- WAIT WHAT NO DON’T SHOW ME THE CHILDREN WHO’RE ABOUT TO DIE WHAT THE FUCK YOU MONSTERS

- like we’re right at the worst part now and she is an asshole... but damn madam yu’s last stand is epic tho. like a champ to the end

- wen zhuliu’s actor being able to uphold a look of tremendous boredom at all times regardless of what’s going on around him is Poetic Cinema Bitches

- jiang cheng and wei ying are holding hands on the boat... stab me in the heart... end my suffering

- you know what in this version we get to see that madam yu knew her husband came back for her and they died holding hands and not everything’s on fire yet, so far this isn’t quite as harrowing as the animated version. the dead children are fucking me up but the tone of the animated version is like a nightmare, this is less disturbing to me

also can we talk about how madam yu fought them off the whole day and night and her husband gets his ass owned within five minutes 😔 oh papa jiang

- oh okay turns out jiang cheng’s ‘I want my mom and dad’ gets to me in every adaptation good to know

they’re so young they’re bbs I don’t want to be here anymore haha

- wen ning. a sweet angel. just the goodest of boys. his sister raised him so well ;______:

- wen quing is so ethereally beautiful and also looks like she could stop a train with the force of one glance. like she’s my height but her presence is immense

- oh I see we’ve arrived at the tiny adorable flashback bbs part of this journey, let me just... just lie down somewhere huh

- outside of the central romance this is a tale about people who love their brothers very very much and it’s real sad for everyone involved

- me watching nie mingjue kicking down the doors to reclaim his own dang fortress: YEEEEAAAAH GO OFF DAGE!!! i um love him and his very handsome face

- jiang cheng dreaming about his family is EMOTIONAL WARFARE!!! how fucking dare!!!

- y’know what this isn’t a bad way of adapting the burial grounds thing! also pretty cost effective I imagine, gotta think about the budget when so much of it goes into fabulous wigs and robes

- credit where it’s due, the actor for wen chao makes his face do some shit I didn’t know human faces could do and he’s enjoyable to watch in the capacity as your friendly neighbourhood hate sink

- lwj consistently using wwx’s personal name even when talking to total strangers now... mhm this is also fine

- I can’t beliEVE this show is somehow less subtle about the gay stuff than the book, jin zixuan basically just asked lwj if he and wwx were... y’know... I guess cultivation partners would be the way to go here lol. between that and nhs more or less asking them if they were off fucking after the whole cold cave debacle... what a time to be alive even if they’re not going to kiss on-screen  

- huaisang I hate to have to be the one to tell you this but your brother is an entire snacc. and yet I respect him way too much to ever proposition him, I know he is busy winning a war and being Righteous and slowly being driven mad by the ghost in his sword on top of raising his little brother, I’m not here to complicate things for him any further

I love this version of nmj so much though. this sense that he also sees the stuff that is genuinely good in jgy and has a real moment of grief that the dude just can’t seem to get away from his basic insecurity that causes him to do horrific things, even when handed other opportunities... the fact that he seems regretful and worried when asking jin zixuan how jgy is doing with the jin....... everything to do with his little brother...................... oh no he’s Soft in his private life this is awful

- poor lwj’s ‘I have a bad feeling about this’ face in this scene haha, he’s staring at this talisman like ‘I only know one person smart and dumb enough to pull this off’

- can’t wen quing just get one nice thing. one nice thing just for her. hasn’t she been through enough. give her her brother back and a nice quiet place to practice medicine and maybe some soft romance with jiang cheng eventually this show is kind of selling me on this.  

- unexpectedly my favourite part of the revenge scene is just the camera switching back to lwj and jc watching in horrified silence like ‘...O___o dude this is fucked up tho right?? it’s not just me that’s messed up??’

- one is forced to wonder about wen zhuliu tho. this version reads as pretty explicitly depressed/suicidal to me, he’s kind of an interesting villain since his main traits are unquestioning loyalty mixed with unending indifference and also seemingly not too pressing a will to live

- oh nhs desperately trying to keep it together and pretend nothing’s different ;_____; this version is really driving it home that wwx is a lot of people’s only friend -- jiang cheng is mentioned to not have anyone but his sister to play with before he arrived, lwj was raised primarily on books and rules and his brother is ELATED that he has one (1) friend now, from the sheer depth of the attachment I’m willing to bet nhs hasn’t had many real friends in his life either. wwx gives and gives of himself and doesn’t know how to take help in return.    

- foreknowledge is a beautiful thing; if you look at nhs when it’s revealed wwx didn’t bring his sword you can visibly see his brain kicking into overdrive haha. smart boy.

- big sister ;_______; I am an older sibling so I haven’t really had the feeling of having an older sister to look to, I see why it might be comforting now

- oh this is some real uruk-hai shit!! honestly the special effects in this aren’t half as bad as I’d been lead to fear, some of you guys just weren’t forged in the crucible of shitty sci-fi channel cgi at an early age and it shows  

(honestly the weird fight stuff threw me much worse in nirvana in fire, because that series has such intricate, credible and realistic political world building and then people are flying all over the place through wire fu and it is so disorienting haha)

- oh nhs looking up at his brother like a puppy during the war council T______T baby bird boy

(between this point in the main story and fatal journey it’s very interesting how clearly nhs needs the emotional stability and safety of his brother -- who also seems to be his parental figure -- to function properly, even in his late teens. it looks like he needed more time to grow up than the rest of them even before they were all thrown into this awful bullshit. well he does have a lot of murderkitten brain to grow I guess that’s fair enough lol. wwx has some of the same thing with his sister too)

- whenever lxc and nmj look at each other it feels like the only two adults in the room meeting each other’s eyes like ‘...oh dear’

- aww lwj getting some advice from his brother. this poor kid really hasn’t been raised to handle the moral complexity of the real world huh, good thing lxc is here to lend some nuance to lan qiren’s unforgiving dogma

- oh lan zhan

- nmj’s plan to just idk somehow go in alone and fight the wen overlord mano a mano to avoid any more casualties... a spine made of steel, a heart made of gold, a head made of wood :’) truly a perfect man, good thing his brother got the brains in that family and he has some more sensible people around him

- in the face of inevitability I plead... jiang yanli... please don’t marry this asshole your son is going to be predictably insufferable

wwx has suffered through so much the last four months or so and yet his real breaking point is seeing his sister cry and can I just say -- relatable content

- NO! NO STOP HURTING HIM HE’S JUST GOOD AND HANDSOME AND DOESN’T DESERVE THIS

(could be applied to like 98% of these characters but in this case it’s nmj b/c I love him)

I do find it very funny and oddly comforting that nmj is literally so fuckn mad that it takes three times as many attacks for the evil sorcery stuff to take him down than we’ve seen used on anyone else fsdkfhasdkj too angry to die  

wHY has my brain chosen for me to attach so deeply to perhaps The single most inevitably doomed person in this entire cast, at this point I’m just being cruel to myself lol

- I can’t describe how much I love the fanficiness of this story, in the best ways. the emotional fallout from the destruction of the lotus pier gets more screentime and attention than the entire sunshot campaign, and that’s exactly how I want it to be.  

- they’ve been doing some great work to establish that the jin are also jeeeeeerks for such a long time, how’s that for foreshadowing

- equal opportunity traitor jgy gets his stab in lol one must respect the grift, though, he’s set himself up pretty darn good

*lxc stops nmj from killing jgy, hello darkness my old friend starts playing in the background*

fatal journey builds nicely on this fundamental thing that the nie boys take their responsibility to their people extremely seriously, it seems to be the fact that jgy so blithely talks about them as necessary casualties that really sets him off

- adlfsdfhsdkjh lxc and nmj meekly being like ‘...we could maybe... not commit war crimes? if that’s at all possible? no?’

*slaps ‘I don’t think you even tried at all’ stars on both of them* (I mean I actually do kind of see where they’re coming from a bit, they just came out of a pretty costly war and I wouldn’t feel too comfortable getting right back into it with arguably the wealthiest faction, who’s also been keeping back a bit and thus kept a lot more reserves. well played jin bastards well played)

- I could stop here. if I stopped here everything would basically be as okay as they could be and the world full of hope still. I suppose the question here is... do I love myself enough to quit while the going is good. and the answer is no I already started the next episode

- I think one incredibly endearing aspect of this version of nmj is that he has a look of faint but permanent worry about him. he walked onto the screen with a vibe of ‘...oh boy I don’t like where this is going’ and he’s just kept going ever since

in the book he’s kind of a flat character (whose one trait is Mad), I love that they’ve given him some depth and nuance here! probably partly down to the actor doing a great job, but this version has a real sort of warmth to him and also seems downright uncertain at times -- he thrives when there’s a clear goal and black and white sides, and is probably not  t h r i l l e d with the weird tentative political situation after they take down the wens lol. thank god he has his little brother to make ‘bitch please’ faces over his shoulder when the jin get weird about things

anyway I’m always on the ‘nhs you are SO valid’ train, but in this version nhs is quadruple valid, in fact only mianmian is more valid in this entire world

- one of my favourite parts of this show is when wwx enters a situation and the camera takes some time to zoom in on the faces of his family and friends to convey their sense of ‘oh god what the fuck is he about to say now’ dread    

- jiang yanli asking her little brother if he doesn’t want to stay with them anymore while crying is emotional kryptonite, help

this poor woman, she had to put all her points into emotional intelligence b/c god knows no one else in this family did

- hell YEAH lan zhan go break some rules!! treat yourself my guy

- hey sis if, theoretically, one hypothetically found oneself in -- for the sake of argument -- love with, as the case may or may not be, someone... how would one tell?? asking for a friend

- the whole summary of this fucking show is just ‘weaponized sibling feels’ everything hurts with foreknowledge why did I keep going

- aw no blindfolded kiss scene but here’s a scene with real earnest emotional intimacy stuff going on instead... I will joyfully take it your honor

- I do value and respect the translators giving us these subtitles so much... but they did also force me to read the words ‘bosom friend’ with my own two eyes right there and that was not very cool of them

- why oh WHY must jiang yanli, best person in the world, have been cursed with the horrible fate of being in love with the dumbest man on the planet

*jiang yanli juggling all the idiot men in her life* oh god my little brother is causing an international diplomatic incident again time to bUCKLE UP

oh ho ho you know shit is getting real when big sister gets mad I LOVE HER. suddenly you see she definitely her mother’s daughter after all lol

wwx crying because his sister just fiercely defended him in public... im uwu

- I hate jgy with all my heart but I do feel bad for him too. his barely faltering :) look while all his asshole relatives gang up on him sdfhskahf

- again the jin are dicks but when it comes to aesthetics they do go off, that’s such a beautiful shade of blue

- dsflhsdakjlfhsdakjfl sd this shot of lwj and nmj right before lxc drinks is the funniest framing imaginable b/c lwj is wearing a look of complete stonefaced

-___________-

and meanwhile nmj, who presumably has seen lxc drunk before since they’re longstanding bros, looks worried as fUCK

- awwwww I do love nhs capitalizing all of jc’s attention so the others won’t start shit with him/so he won’t get to say something publicly he’ll regret later because he’s (understandably honestly) mad at his brother for making his life even more difficult than it has to be (I have every sympathy with wwx but buddy... buddy must you make everything more complicated for your bro every darn time this is a real delicate political situation and he’s not suited for that even without your antics)

it’s a very nhs move because he comes across as slightly boorish and rude and thus leaves jc blameless and thus protected, you can get so far if you have no self respect lol  

- showing us exactly how wen ning died is honestly a little too mean this is not fun

- good god this poor grandma has been through the wringer hasn’t she

- oh. oh wen ning, who never meant hurt anyone in his entire life :(

- listen okay the end is in sight just a couple more horrific tragedies to get through and then it’s the weird romantic comedy buddy cop antics of the current day timeline to ride to the end

- it cannot be overemphasized how much this lan zhan is Baby, I so desperately want to help and protect him

- I’m going to stop shouting out individual actors on this show they’re all goddamn brilliant haha (but am I tho)

- most valid person in the cultivation world mianmian

also enjoying the exemplification of nmj’s character that is ‘not sure how I feel about this dumb kid with the big mouth digging his own grave ever deeper but that girl’s got guts and I respect that’

- wen quing is getting a taste of the dangers and pitfalls of having wwx as a little brother dfhskdalfhsdaklj she and jyl should compare notes (he’s so good tho T-----T)

- how does wwx’s actor have such natural dad energy at such a young age, too powerful

- people give so little thought to how fucked up jc’s situation really is here, like he’s just being an asshole for the sake of it. spend three fucking seconds looking at it with some realpolitik in mind and realize that the clans around him have just shown that they can and will wipe out an enemy clan together if need be, and that his own sect hasn’t even gotten back on its feet after the war that almost wiped it out. like wwx is unquestionably morally right but has gone about it in such a way that it’s real fucking hard to support him without going down with him and how do you calculate that risk when you’re responsible for so many more lives than your own

also so sad about jc being so afraid this entire time that wwx would leave him like everyone else... and now he has :( jc doesn’t handle it well but then who would at this stage

- there is something so pure about a quietly horrified lan zhan getting Dad Advice from these guys (well he’s going to be needing it soon enough so)

oh the utter softness of his face looking at wwx and ah yuan ;_______; thank god, some fluff to bolster my heart before we set off into the last harrowing ordeal here

LAN ZHAN’S ENTIRE FACE LIGHTING UP AT WEI YING ASKING HIM OUT thank fuck there’s still some joy left in the universe

this poor love struck man, someone help him  

lan zhan conscientiously grabbing ah yuan’s toys is fskhdfksjdlfhskjdhf

- lan zhan looking around the demon subduing cave: babe I love you more than life itself but this is tacky as hell

- crying because wen niiiiiing

- crying because sibliiiiiings

okay this is the last time the three of them will be together and nominally happy, need to appreciate it through my tears

- actually I take it back please just let the bad thing happen now so I don’t have to live in suspense anymore lol (...this probably says a lot more about me as a person than I’m strictly comfortable with)

- the fact that none of wwx’s little adopted wen family are AT ALL intimidated by him anymore is just... it’s too much to bear

again tho this book/show is so willing to let you dwell in the emotional stages of things in a very fanfic sort of way, I think it’s what makes the sad parts so much worse (and makes you feel so incredibly attached to these characters)

- I gUESS it’s a testament to jin zixuan’s character that he has any decency at all, considering who his dad is and where he was raised

I’m cracking up at their dad being the one who still doesn’t trust jgy tho lol snake recognizes snake

- jgy’s faint look of ‘are you fucking kIdDiNg me rn’ whenever all these jin douchebags talk is very entertaining. if he didn’t go on to do all that murder and incest and (probably) infanticide I’d sort of cheer for him no matter what kind of sociopath he is

- not to be a downer or anything but isn’t one month a little premature to be celebrating the survival of a baby in fantasy old timey china tho

sometimes I feel like looking back at history is just seeing a whole lot of dead children (and this is why I think that even if god did exist it would be morally inconceivable to worship him! sorry just a quick detour into my personal grudge against the inherent cruelty of the world there, let’s move on)

- it’s uncomfortable to watch even the outlines of the jin sect’s slow insidious stranglehold on power. even these random shopgoing nobodies know that nmj is Not Happy about these watchtowers and that it’s probably going to happen anyway. the jin are snakes but at least they’re clever about it and I do kind of respect that

- oh everything’s about to go so wrong I hate it

NOOOOO don’t make the zombie baby fight, nothing good will come of this

- man this is hitting me worse than lotus pier actually I’m just... crying haha

it’s almost cathartic tho... there’s something about wen quing’s dignity and certainty that really helps? I just really wish they hadn’t brought the whole little group, god I want them to be okay so badly and ah yuan will be all that’s left and. and just throw me into the ocean and let me sink tbh

- I know this is all so much black cgi smoke (pls let us see the red version again at some point btw that was cool as shit) but the emotional metaphor of wwx that you can’t take on more and more of other people’s suffering and trauma and not care for yourself because you will lose control of that at some point is just. very nicely done. (he’s a bit of an odd serial codependent for a lot of the story, isn’t he. thank god lan zhan is not a quitter)

- jin zixuan’s mom is breaking my heart a little here. this lady has been married to THAT GUY all this time and now this as well. sorry lady, I guess jgy probably Took Care Of You at some stage after this

- a) this is just real good acting for wwx. this is the perfect level of unhinged for this, even though I’m always like ‘just. just shut your mouth for one time in your life and stop digging this grave any deeper six feet should be enough for anyone huh’ at this stage of the story and b) I am cackling inappropriately at the shot-reverse-shots between wwx, jiang cheng and jgy. jiang cheng looks like everything he ever loved is falling apart around him and jgy is like ‘oh wow I didn’t even have to provide him any rope he’s doing an excellent job at hanging himself without me’

I love wwx so much but it did take him an unconscionable length of time to realize that when you set big enough things into motion you will not be able to control who it crushes along the way or who might steer it in the wrong direction. other people exist and have agency and a lot of those people are bad honey :(

- ah yes lwj being stopped by a barrier made of the physical manifestation of wwx’s trauma when he tries to reach him :’) this is okay and cool and fine    

- it’s admirably obtuse of everyone to look at wwx at this stage and still think he’s in control of uh anything lol

- oh okay that went better than expected I don’t know if I’m just inured to sadness at this point

jiang cheng looking like a little boy clutching his big sister’s body is tugging at my heartstrings a bit tho

- ooooh this battle hardened intense lwj!!! I guess I can sort of see it now

- oh lan zhan 2, electric boogaloo

- finally! time for some comfort up in this hurt

- my man nmj still so fucking angry in the afterlife that anything even remotely connected to him is shaking with rage in sympathy in the real world. a mood

- fdsahfsjdklfhsdajk wwx being like ‘I can take everyone saying I was evil but how DARE you not mention I was also a snacc’

- when do you think nie huaisang really realized that his brother wouldn’t have children and that he was up for the sect leader seat next? nie mingjue seems to have known pretty far in advance himself and tried to prepare his brother accordingly, but that kid really didn’t want the job so I imagine he’d try to live in denial as long as possible

vaguely related: no other family is ever mentioned by either brother or anyone else, and nie huaisang straight out says that he is the only main disciple (I seem to remember and with the caveat that I might have misunderstood the translation) when there’s the talk of them being sent to the wen as hostages -- I suppose you sort of have to be very selective when your ancestral cultivation method is sketchy enough that you should keep that shit on the down low and you know people die young from it. so I think it’s possible if not probable that huaisang is the last of his family. isn’t that a fun little thing to think about? haha. ha. help me  

- this random street vendor is an unexpected strong comedy performance, every face he makes is pure gold

- fkshafkjsdhfasd best introduction of adult nhs

- the quiet luminous love on lwj’s face whenever he looks at wwx in the present... give this man all the awards. it’s nice that wwx gets to be scared and childish and vulnerable with someone who loves him no matter what too, he’s been through some shit

- oh okay I see so the reason they chose to make fatal journey the way they did was because they already had the set built

- *nhs dropping one set of robes like that one gif from anastasia to reveal another even more luxuriously dandy-ish set under it* oh wow what a surprise to see you two down here, coincidences amirite (anyway here’s the testament to all the sins of my ancestors & a trail of breadcrumbs to lead you to the murderer of my brother)

no wait that’s slightly later isn’t it. well the point still stands

- dead!nmj is truly a mood -- “I don’t know where I am, who I am or what the fuck just happened but I do know that I am PISSED OFF”

(actually in the book I found that almost comforting -- at least the dude got to spend his afterlife doing what he loved (i.e. being angry), but this more nuanced and sympathetic version being trapped like that just. makes me very very sad)

nice of him to stick around to play a few rounds of hot or cold with his little bro’s friends tho lol. I mean from what I understand of this take on canon it’s actually the spirit of his sword and not him in person? but close enough, let me keep him as long as I can okay

- jin ling getting his dumb ass cask of amontillado’d within ten minutes of entering the tomb smh

look at your ROBES young man what is your (other) uncle going to say??

- hAH what did I say. pedagogic mastermind jiang cheng at it again

enjoying the fact that they chose the floofiest most benign-looking of dogs to play this ~*terrifying hound*~ so much

I have a lot of sympathy for jiang cheng, and the actor is doing a good job at aging him up here (not as good as lwj’s but then you can’t beat perfection). the way he’s calcified into bitterness and anger b/c he can’t express his emotions in a healthy nuanced way feels very... real I guess, people get like that sometimes

- I am somehow really endeared to this version of jin ling. a dumb baby, but a baby

- poor lan zhan lol “I LEFT YOU ON YOUR OWN FOR TWO HOURS AND YOU ALREADY MANAGED TO TAKE ON SOMEONE ELSE’S CURSE??? BABE!!!!!!!”

he consistently uses jiang cheng’s personal name too huh. well it is his brother in law I guess ETA: actually I’m an idiot ignore/forgive me, that’s jiang cheng’s courtesy name isn’t it. lan wangji is being salty/maybe-deliberately-maybe-not-(but-definitely-tho) distant/polite with him I think 

- y’know... as I watch lwj carry the love of his life around on his back with all the tenderness in the world and I see people in the comments yell about why do you always need everything to be gay they’re just good friends you’re all crazy... I realize all over again that there really is no level of queerness they’ll ever find legitimate or acceptable. which like. feels bad, but there’s also the freedom in remembering they are always going to be assholes no matter what I do, there’s literally no need to listen to them at any time.

- I am CRACKING UP; watching this episode right after seeing fatal journey sure is a treat hahaha. nhs really must enjoy the acting on a deep level because he is hamming it up and I am living for it    

“It’s nothing at all like unorthodox demonic cultivation methods!” he protests with his big innocent doe eyes, having yelled the exact same accusation at his brother within ten seconds of finding out about it dsfdskjha

- awww that’s such a sweet way of telling nhs who he is while both of them still get plausible deniability :’)

this show is making it a LOT easier to figure out nhs’ deal earlier just through visual storytelling and his reactions when lwj and wwx aren’t looking, but I guess you sort of have to do that without the benefits of selective POVs that you can do in written stories

- lan zhan’s little smirks are such a blessing

- can we talk about how INCREDIBLY rude lwj and wwx are being barging into other people’s ancestral tombs like they own the place. I know I said break some rules lan zhan but there’s such a thing as common decency too at least wipe your feet at the entrance or something

stop being big bullies!!! (nhs actually sounds a little salty at how debonair they are being lol he’s like yeah you’re doing what I want you to but you don’t have to be such dicks about it)

- nooooooo nmj don’t die ur so sexy ahaha (I jest so I do not cry godddddd my heart big brother come baaaaaaack)

I’m honestly finding it very hard to live with knowing that the last thing nmj saw in life was jgy having his little brother in his clutches D:D:D: looking at it like that... of course he came back mad as fuck, I’d probably do the same thing

- boys boys I love and support you but could you maybe not stand around talking about how this was totally a horrific murder like the murderee’s little brother isn’t standing right there?? i mean it’s useful for him but it’s kind of mean of you, I know neither of you were raised in a barn  

okay there’s wwx irrepressible protective instinct that’s better. I just... nhs standing there looking small and sad and soft and lonely isn’t the whole truth but it is part of the whole truth, it’s nice to see wwx being like this even after all those years. (the physical closeness in their friendship in their youth in this version is so gooood. outside of wwx the only two people we see nhs consistently allow close or seek out closeness from is his brother and MENG YAO, who can frankly burn in hell even more than usual for the flute thing in fatal journey.)

- lan zhan contemplating the inherent impermanence of everything good in the world and then immediately getting blackout drunk -- MOOD. also I have never seen a scene where someone so obviously was about to press a soft kiss to someone’s forehead or cheek, don’t worry wwx I see you through the censorship lol

(it’s incredible how well they’ve adapted the love story considering the fact that they technically uh can’t)  

- wen ning: shambles, zombie-like and disheveled with horror movie monster eyes, into frame

all of us: omg a BABY ToT

- live action drunk lan zhan is living up to the hype I am  d y i n g

this poor repressed man

fjskdfsdkjhf he could do sword fighting in his damn sleep probably

I will say that leaving ‘wei wuxian was also here’ is going to scare the crap out of these poor people whose only crime was keeping well fed chickens

- they r so in love someone hold me

- this nmj!kid I am LOSING IT, this is so cute I want to lie face down on the floor and cry

- the yi city arc is my least favourite part of this story, so I’m fortifying myself to get through a couple of hours of sexy baby xue yang here

- Dad/troll teacher!wwx is in fact everything

- oooh wwx has the same weird crooked fingers as me when they’re extended! just some small Facts About Your Friendly Neighbourhood Blogger there

- this is not at all a bad take on ah quing! she qte

- ‘what’s your husband look like?’ song lan, crying: beautiful

- xxc you didn’t think it was a little weird the dude wouldn’t tell you his name -- even a name -- all this time. honestly

I know you’re in a bad place and this is sort of a rebound thing from your actual true love but stop letting him gaslight you like this buddy :(

- time for some MASSIVELY FORESHADOWING PARALLELS my friends

- I don’t know if I’m just a heartless monster but I honestly don’t care that much about anyone but ah quing in this little sideplot lol (probably my complete disinterest in xue yang tainting everything else)  

- xue yang and jgy: the ‘sad backstory dude still inexplicably extra mass murder’ club

- godddd I’m so bored I’ve listened to this guy cackle ~*madly and evilly*~ for three episodes now when will it fucking end

- lan jingjy you are VALID

- fhsdkfhsdkj can’t get over baxia being like ‘OI you two stop gazing soulfully into each other’s eyes for five seconds and get on with avenging me’

must be annoying spending your afterlife in a pouch third wheeling the two most obnoxiously in love people in the world, I think this spirit sword is being admirably restrained and patient all things considered

- big brother I am so sorry you had to hang out under there all this time while this boring bullshit plot happened above you ;________________________;

I’m actually not clear on what the nie sect does with the bodies of the dead -- the saber tomb seems to be exclusively for the weapons/we see that some of the cultivators will go down there while they’re still alive to sacrifice themselves... maybe they go in the walls? I guess nhs is breaking tradition in a lot of ways tho so who knows!

- ‘from what I’ve seen he’s not so bad’ wei ying he smilingly asked you to use POWs for target practice I’ll allow lxc to be this dumb but you really have no excuse

- this duckling in red is a gentleman and a bro, one to watch

- wwx seductively arranging himself in the open window to cover his panic fsdkjfhsda

- lot’s wife WISHES she had the level of salt jiang cheng does

- ‘if they ask me any weird questions I don’t know the answers to I’ll have to pretend to be a total psycho’

lan zhan, dragging his husband with one deadpan face: I’m sure that is going to be a huge feat of acting for you babe

- NIE HUAISANG FALLING INTO FRAME AND LAUNCHING HIMSELF FROM ONE PERSON TO ANOTHER LIKE A GORMLESS WET RAG, I STAN ONE (1) BOY

‘but new problems appeared’  how is he such a mood

again tho you can give your unknowing accomplices so much space to investigate if you just don’t bother with self respect or dignity at any stage of the journey lol

- fjshdfkjlsahd that beat of lan zhan clearly taking a moment to contemplate the idea of wei ying confessing his love naked in public there

- uncle and nephew bonding time T________________T  

- fsakfhsadkjlfhsad I can’t deal with this mission impossible ass music in the background as a little paper gingerbread man scoots around the palace

whoever animated this was clearly having a lot of fun, I love the little details like his dangling legs and him rubbing his lil paper bum after landing

- poor qin su, one of the most screwed over people in this whole show. at least in the book he didn’t mean to

- ah su, you’re being very unreasonable about this, what is a little incest between friends

- straight culture is this being chill to keep in the adaptation but god forbid anyone got a loving queer kiss at any point (not blaming the showrunners at all, they’re clearly stretching the limits as far as they will go and maybe a bit more at a few points)

- YES SISTER CALL HIM THE FUCK OUT I always felt like she’s known something was a little off for a long time but never could put her finger on what exactly

- ‘can you still not let me go’ hey jgy you piece of shit who’s keeping whose head in a weird serial killer cabinet here

- THANK YOU FOR BRINGING HIS HANDSOME ALIVE FACE BACK TO MY SCREEN IF ONLY TO MAKE ME SAD

- he’s so beautiful and righteous and strong 😭😭😭😭 dage come back to us

(makes even more sense that he’s so pissed off about what jgy did if he’s already shown clearly that he’ll shut down the people fucking with him if it’s brought to his attention. he gave you every opportunity you little oh-it’s-never-really-my-fault worm of a man)

- another nmj about to cry warning needed here help me

dON’T FUCKING TOUCH HIM YOU SLIMY FSKJLDHFKSJDHFSKDJLHF

the nie traits are undying loyalty, rage, and the intergenerational trauma of watching your parental figures succumb to death and madness through the same cultivation path you practice

- my cause of death: nmj’s eyes shining with unshed tears

this version has that edge of vulnerability to him, you suddenly do realize he was once just a kid watching his dad die a horrifying death and then having to take on all that responsibility and raising his brother

nie boys unfailingly devoted to the people under their protection I’m gonna go bury myself under a tree or something

- I’ve had to turn the volume down so I can barely hear anything b/c my emotions are too big to for my dumb body to contain already I can’t listen to this

- extremely sad but also a little funny that part of the reason nmj died was that he had no interest whatsoever in the arts. ‘music is music right?’ says local jock

- I’ve just been whimpering the last twenty minutes this is awful

- huaisang’s voice breaking on ‘big brother, it’s me’... sdlakhgsdjklfhsadjkghsdkjlfhdskljhgsdalkhgsdklgjhsdjklhgkdjslhgjskd I’m going to the bottom of the mariana trench and I’m staying there goodbye

- I can’t wait to watch nie huaisang end this putrid trash man’s whole career in the most devastating way possible tbh

- I’m just so SAD T______________________________T I hate jgy so much my heart burns with it I’m so glad he’s about to get some dramatic irony shoved up his -- but I digress

- haha poor jin ling standing there watching all this messed up shit like ‘O.O thanks i’m nine’

- I wish I was as good at passing the fuck out on command as nhs, I feel like it would solve a lot of my problems

- just some low key soulmate shit no biggie

- wwx is basically fantasy old timey naked again here the SCANDAL except no scandal they’re clearly married

- wwx is being so much more patient with lxc than I would have found it in my heart to be at this stage. he’s like ‘lxc you are my brother in law and I truly appreciate you and everything you’ve done for me but it’s sadly up to me to gently confront you with all the ways you’ve been a dumb ho just b/c you think jgy has pretty dimples 😔’

- “You’re not qualified to talk to me” oh lwj I love you so much. I thought committing murder was forbidden by the lan sect rules but there you go  

- it honestly baffles me that some people think nmj would be the strictest parental figure in this universe when a) everything about huaisang suggests otherwise and b) lan qiren is right there

madam yu has that ‘super unforgiving to her son’s face but will also tear anyone criticizing him a new one’ mixed energy too  

- lqr: I raised a perfect obedient righteous cultivator

me & wei ying: you’ve ruined a perfectly good boy is what you did look at him he’s too repressed to breathe

- well their dad clearly paid enough attention to worldly matters that two kids resulted from it, I’m not quite sure where we’re going with this lxc

one’s an accident two’s a pattern etc.

- wow I was so confused about ‘confidante’ being used here b/c it makes absolutely no sense in context, and the comments helpfully informed me that it’s more accurately translated to ‘soulmate’ or something like that; that does make a whole lot more sense yeah

- bb!lan zhan kneeling in the snow is more than anyone’s supposed to have to live with tbh

- lxc being like ‘so yeah my brother will keep loving people long after they’re gone and unable to give him love back! just a fun fact there, something to think about anyway here’s wonderwall’

- soft, ever-so-slightly messy haired at home lan zhan deserves the world

- oh wwx’s shift away from thinking the truth doesn’t matter at all to realizing the truth of you being held fully and with love by one person in your life is enough as lwj plays their song ;______________________________; this is almost more romantic than a kiss scene would be honestly jesus christ  

- little apple is the best of us tbh

- apologies but they have 100% started to fuck off-screen at this stage, the looks wei ying is giving him dsafasdfhsjkd

- I take it back mianmian and little apple are the best of us

- imagine just finding the light bearing lord, second peerless jade of lan in his immaculate white clothes, peeking out from between your hay bales one day

- the exponential increase in lan zhan’s blessed little smiles lately: my oh-they-fawking thesis is validated yet again

- wei ying lying through his teeth: of course I remembered your face at once who do you take me for  

(lan zhan: smirks in quiet satisfaction)

- walejhgskdjhgsjdaklfhsadjkflafhsjakdsf wen ning is so cute I don’t know what to do with myself

- wei ying this is where you first asked him out of course he remembers

- lan zhan is like ‘oh shit I forgot to tell him about our son and at this point I’m kind of embarrassed to bring it up’

- I am NOT thinking about the lotus pond they made for him here, you can’t make me

- ‘the worst time in their lives’ yeah, but there was such love there too. it  h u r t s 

- the actor for wen ning is so good at making his expressions look deeply earnest but also a little uncanny, like moving his face doesn’t come naturally to him anymore but his Good Boyness shines through

- DRAGGED in public by his own son. rip wwx he had a good run of it before his untimely murder

- wow thank goodness sect leader yao survived all this time, his death would as we all know have been a huge loss to society as a whole

- “I’m just here to round up the numbers” I love him more than I can convey to you in words

I’m a simple person, I hear nhs’ chronically befuddled voice and a burst of pure joy is released in my heart

sdfhjksadhfsad his soft little 😕 face peeking out from behind people’s shoulders fkjsdhfsdjal

- will I ever get enough of nhs masterfully manipulating a situation through his own apparent cowardliness and uselessness? no is the answer to that it’s always entrancing to watch

nhs as a teacher, nodding sagely as his disciples exchange glances: it’s never too late to go home instead of going big. saying ‘fuck this i’m outta here’ is always an option

- also nhs seemingly doesn’t use a saber at all anymore, where he at least used to have one back in fatal journey times. I’m very happy he’s trying some new things, time to break that very sad traumatic chain of dying young and furious

also him getting someone else to do the work of fixing the ward or whatever fskdfhaskdlf

teacher nhs, waving his pupils away b/c he’s busy painting or something: class dismissed. and remember, if at all possible, get someone else to do your homework for you. as long as you don’t get caught that’s an automatic A

- wwx is literally the cat surrounded by knives meme here lol

- lol lol lol wwx just removed his outer tunic thing to reveal lan zhan’s undershirt still under there and you can see lan qiren silently seethe with ‘that little hussy has seduced my nephew away from the righteous path’

(do I personally believe in slut shaming of any kind? nah it’s dumb as fuck. do I think lqr does? yeah)

- hahaha I can’t tell if nhs’ slightly glazed look here is b/c wwx did something he didn’t plan for him to do or if it’s because he’s for all intents and purposes half naked in front of them. (tbh I think there’s a case to be made in this version that he has a sort of wistful would-never-act-on-it-for-a-million-different-reasons-lan-zhan’s-furious-jealous-stare-being-foremost-of-them crush on both wwx and lwj from back when they were teens)

- WOW all these dicks inviting themselves to lotus pier!!! r u d e

- lan zhan flexing on lan qiren by raising a happy well adjusted child even while he’s mourning the love of his life: what like it’s hard

- wen ning kept that toy for sixteen goddamn years don’t touch me

- I’m crying about jin ling give me a moment. he is baby okay he’s even younger than ah yuan by at least four years

the image of him hugging the only thing he’s got left of his dad... fsdalkfhasdjlkfhsjdakhfsjdk

- lan sizhui has a crowd of good uncles/dads and poor jin ling has a crowd of utter disaster uncles and it’s very unfortunate (yes wwx is on both of those lists)

it is very sweet that it’s jiang cheng who consistently actually looks out for him, even in his feelings-wtf-are-feelings sort of way. the least disaster uncle, but only by comparison lol

- I think this ouyang kid might be duckling in red from before? LOVING the interspersed nhs reaction shots to him, anyway fsakdfh (I’m going to make it sad: how many conversations like this do you think he had with his brother as a kid? that’s fine we can both cry now I don’t want to be alone in this)

- ‘mr ning’ im Y___________________________________Y

- extremely Here for yet another full costume change from nhs hahaha (he’s changed at the boat already, god knows how he pulled that off but I’d expect no less from him)

- nhs must have been a sect leader for at least a decade at this point, and he still manages to exude such a powerful ‘kid at the adult’s table’ aura. incredible. mindblowing, inspirational

- ...oh they went with the same version of the previous jin leader’s death huh (but GOD FORBID that anyone should be openly gay amirite lol) O___O again though WHY is jin ling here, jiang cheng??????? he’s like sixteen, he’s never going to dare to even kiss anyone after this

- nhs has the look of a man who’s had to sit on this disgusting knowledge alone for years and finally gets to share that icky burden around, merry christmas everyone if I have to know about this so do you

- I don’t know if this is just me imagining things or reading more into it than what’s there, but I think nhs is actually sitting in the same pose his brother used to a lot in this part of the scene (the upright posture with palms resting at the top of the thighs/hips, fingers turned inwards/towards each other; it looks sort of... solid and self-contained, I guess)

- I would call jgy knowingly committing the incest character assassination if he’d had enough character to assassinate even in the book, I would never have put it past him

- y’know... god knows nmj had flaws (I think my immense depth of love for him in this version comes precisely from how hard he tries even while being deeply flawed. him dumb but him always trying :’) well actually he’s not dumb at all, he’s shown to be pretty darn politically savvy, I’m just having a hard time finding the right word here. ‘inflexible’ is maybe closer ), but the big defining difference between him and jin guangyao (and consequently xue yang) is that both of the latter are completely open about the fact that they see themselves as more important than anyone else -- xue yang considers one of his fingers worth more than fifty people’s lives, jgy kills twenty sex workers as a mere afterthought to his own revenge on his father. meanwhile nmj gets Messed Up by people dying under his protection to the degree that he came up with one of the dumbest plans I’ve ever heard just so he’d be the only one at risk, just so no one else would get hurt anymore. hmnghsjhfs.   

- wen ning, proudly: my sister was the best doctor in the world 

me, openly crying: she sure was buddy

- wwx: hey lan zhan are there any sweet patient lan ladies with an open mind around

lwj: ...why

wwx: I just think our zombie son should start thinking about getting friends, maybe even a real home

lwj, subtly relieved: oh

- JIN LING BABY BOY NOOOO D:D:D:

- nhs I need you to come in and end this man I cannot look at his awful face anymore

- ugh this garrotte sound effect is really unpleasant actually well done

- THERE HE IS!!! conveniently swooning his way into the scene again, my guy ;_______; smol and soft-looking and about to utterly obliterate a man on every conceivable level 

I love every moment of the camera dwelling meaningfully on his innocent vulnerable face, this is going to be so great 

it’s too bad he’s a behind the curtain sort of dude, I would kill for a poirot-style ‘I’m sure you’re all wondering why I’ve gathered you here in the library’ moment here lol

- tbh jiang cheng’s got a point about that whole ‘making huge sweeping decisions about someone else’s life and never telling them about it’ thing

wwx has sort of structured himself as a person so that you’ll never be allowed to really reciprocate his dedication and sacrifices (unless you’re lz lol), and while that is a very sympathetic trauma reaction essentially it is sort of a dick move interpersonally.

- the weight and wisdom that comes along with the scars of older wwx... you love to see it

- nhs, with effortless grace, rousing from his disney princess slumber just as the real drama’s about to begin... your honor he is simply the best

-  T__________________________________________________________T big brother 

- the tinge of coldness in nhs’ eyes while he watches jgy through this whole scene even as he keeps up the ‘im baby don’t worry about me’ act.............. fashdfjlksdahfslkadj, not to say askfksjhafkjsldhfkjsalhfksjaldhfkls

- to say that jgy has perhaps ‘gone overboard with this’ might be the biggest understatement of any century lxc

- watching him kneel by his brother’s coffin here I’d like to propose that Nie Huaisang has exactly the same capacity for all-consuming rage as the rest of his family, except he can’t just vent it by hitting something real hard with a haunted murder saber so he has to get creative and that was real unfortunate for Jin Guangyao  

- one thing that’s always tickled me is that nhs did give jgy the choice. the people around him -- the people he claims to love -- could have been left out of it, no dishonor being brought to either his name or any of theirs... if he’d been willing to sacrifice himself. (probably a gambit where he knew that was never going to happen, but still!)

- nhs standing there in the background like ‘yeah yeah we all have horrifying family legacies buddy, we just don’t knowingly marry our sisters or arrange for mass murders over it’  

- arguably killing the previous jin leader could actually count as a good deed if not for the horrifying way he did it lol. jgy all over, he could have done something helpful, *john mulaney voice* and then he didn’t he just killed nineteen innocent women while he was on a roll instead

- while it’s sort of bullshit that some responsibility is taken away from wwx in jin zixuan’s death here it’s also making a bit more sense to me like this -- seems like an uncharacteristic gamble from jgy to just idk hope wwx would lose control at exactly the right/wrong moment. wwx is still at fault for how casually he treated wen ning as a weapon when he didn’t know what the consequences could be, I’m okay with this

- jin ling and the terrible horrible no good very bad week :( protect him

wow lan xicheng let’s stand around some more letting this awful excuse for a person tell this sixteen year old boy that his parents deserved to be murdered basically, I’m sure there’s a lot more fruitful discussion still left to be had here  

- talk shit about nie mingjue’s brother get hit su she hell YEAHHHHHH

big brother still looking out for him I’m fsdklfhajsdlhf 😭😭😭

- I’M SO FULL OF FEELINGS ;________________________________; at least in this version the implication feels more like he’s finally at peace? (hilariously wwx managed to purge/cleanse the saber spirit, which is the entire conflict of fatal journey haha, nhs really did get his best friend to do his homework for him yet again, INSPIRATIONAL)

- HELL YEAH FINALLY GET REKT YOU PIECE OF SHIT! PRESS F TO PAY RESPECT EXCEPT JOKE’S ON YOU I’VE GOT NO RESPECT TO PAY

They did do away with any and all ambiguity around nhs here and I’m totally cool with it, that was awesome

- I’m playing the world’s tiniest little violin right now, wow much sad fuck you and your dumb hat

- may I just say that the fact that jgy uses his last moments on earth to make lxc, a person he proclaims to love, feel as bad as possible about his now inevitable death even though it clearly wasn’t really his fault... is just proof that he has never actually loved anyone at all except possibly himself 

contrast with wwx, who tells jc that he’s sorry, dries his tears in the here and now and says to let the past go because there’s nothing either of them can do about it now and there’s no point in hurting themselves over it again and again anymore. jgy has the opportunity to give a similar kindness here and instead twists and twists the knife, so lxc will be in as much pain as possible when he’s gone. he’d rather be kept alive in lxc’s suffering than let him, someone he ‘loves’, ever heal and be happy. anyway I hope hell is real shitty for you jgy

- jgy you absolute piece of shit you couldn’t let my man have TEN FUCKING MINUTES to nap in peace? after sixteen years of your fuckery? urgh bye  

- nhs looking at lxc sadly when lxc can’t see him... one last ‘I don’t know’ finally closing out his arc... I love all of this so much, there’s such a nuance of... he is genuinely a bit sad about causing lxc pain but he also doesn’t regret what he did At All. (I guess most of what he’s done must be pretty easy to rationalize/justify to himself, since the vast majority of his work went into finding the horrible shit jgy has done and showing them the way home to roost, rather than creating fresh suffering from scratch. and then there’s also the whole mo family but uh well eggs omelettes amirite lol)   

- lan qiren telling people not to run or talk loudly b/c they’re at a temple, even under these circumstances fhakjsldfhkjsdafhkjsaldhf 

- god the casting people for this show have a perfect track record of finding heartwrenchingly cute kids my GOD

- jfdsafhaskdjfh I love how they’ve done the moment with the hat -- the way the flashback sort of indicates that nhs does recognize on a deep level that the dude he just killed was someone’s son, was after all once an innocent child, like anyone... and again, it doesn’t make him regret it. he looks tired and sort of empty, but not like he’d take any of it back. he’s seen jgy for all that he was, good and bad, and made his decision. his reaction to seeing his hands ever so slightly stained with blood is mostly ‘...eh sure’ (and he knows none of this will ever bring his brother back and I am HURTING) . just. I love him so much what an interesting character 

- lan zhan raised a child who can talk about his feelings, unprecedented & wondrous 

who’s chopping onions in here

- never getting over ah yuan being the best person in the world at roasting his dad 

- okay okay okay I’m going to have some incoherent feelings here -- the expression on nhs’ face right after wwx asks him if he intends to be chief cultivator is just... hm. how do I describe this. it looks almost like he’s thinking ‘oh yeah I forgot you don’t actually know me anymore (yeah okay that’s my bad)’? the previous scene is about lwj and wwx, The symbolic representation of true love in this world, naming each other/knowing each other for exactly who and what they are. that’s the thematic victory in this story; to be truly known, accepted and loved for the entirety of who you are, if only by one person in your whole life. (notably all sorts of love, parental, familial, platonic etc., not just romantic/sexual) and to get his victory, nhs has had to completely forsake that because his whole plan hinged on it; he hasn’t been emotionally honest with anyone for well over a decade at this point. no one really knows or understands him, and if someone ever did he’s long dead now and never coming back. and in this one moment both wwx and nhs seem to come to the quiet understanding that neither of them are who they used to be as kids and it’ll never be like it used to be again, and reach a sort of live-and-let-live truce about it.  d u d e this goddamn story 

(after all part of the reason jgy is so incredibly terrified of nmj is that he’s the first person to see straight through his bullshit to who he is behind it, and that it’s u g l y  back there. jgy + nmj = being known without being accepted or loved (b/c honestly he doesn’t deserve to be loved or accepted yeah there we go I said it), jgy + lxc = being accepted and loved without being known, which turns into disaster all around.)

- man this was actually a really solid adaptation, it was excellently done! they did rush a bit towards the end there (it was never explained why jgy didn’t kill sissi along with all the other sex workers in this version, for example, leaving a rather substantial plot hole, and they never reveal why exactly lan zhan had to take over as sect leader which breaks off lxc’s arc at the end), but all in all that was wonderful and even added some stuff I liked better than in the book! now please god never let mtxt write a sequel, just let them be in this happily ever after, all of them have been through enough ;________;

- also the music was truly epic! I don’t even begrudge them using some parts more often and blatantly than what’s probably necessary, I want to wallow in this love theme as much as the next person lol

- what am I going to do with hours upon hours of my life now? I don’t know either, I suppose I will just have to find some way to hobble on 

[echodrops]

Why You Should Be Shipping Shigaraki/Ochako

No, no, hang on a second--I see that side-eye you are throwing hard enough to ruin your peripheral vision. I feel the shade you’re casting like a thundercloud rolling in. But you didn’t read wrong. I meant what I said.

I’ve never made a secret of my love for rare pairs, but for once in my damn lonely shipper’s hellscape of a life I would love it if my favorite crack ship in a fandom had more than two fics (I’m NOT JOKING) to its name.

What can I do to correct this egregious oversight before the entire summer passes with nary a whisper of the most romantic ship since Juliet wherefore art thou’d Romeo?

Well, what else? I was forged in the fires of early 2000s’ fandom, and I know that desperate times call for desperate measures meticulously researched and extremely rose-tinted

Shipping Manifestos.

Fam, I am about to blow your minds, align your chakras, open your third eyes--because Shigaraki and Ochako is the most slept on ship in the entire BNHA fandom, and if you give me ten minutes like an hour (holy shit, this is long), I can prove it.

Disclaimer: @mistystarshine is the enabler who convinced me to write this but we were both enabled by @ohmytheon’s Reconfigure (on AO3) so you know who’s really responsible.

Spoilers to Chapter 231, watch out.

First off, I know what you’re thinking. Maybe you’re still reading from pure shock. Maybe you’re doubt-reading to get your daily fix of internet skepticism. Maybe you’re waiting for me to say these two characters are meant to be because she wears pink and his hair is blue. Maybe you’re already freaking out about age gaps but like that is what future fics and AUs are actually for!!!

I’m not telling you to give up your IzuOcha or Kacchako. I’m not gonna pry ShigaDabi out of your eager little villain stan hands. But if you’ve never considered multi-shipping, now is the time my friends, because I’m totally serious heartfelt here! I’ve got VALID reasons for shipping Shigako--ten of them, in fact:

1) Midoriya is taken for granted as Uraraka’s love interest--but Shigaraki is incredibly similar to him.

There are reams of meta on the parallels between Midoriya and Shigaraki, with plenty people noting how Horikoshi specifically set the two up as foils to examine similar character development despite their drastically different circumstances. Yet for all the meta pointing out that Shigaraki and Midoriya are basically the same character through a mirror darkly, I’ve never seen anyone bear that thought out to its logical conclusion: there are traits Uraraka admires in Midoriya that are extremely apparent in Shigaraki too.

Multiple times in the manga, Uraraka expresses admiration for Deku’s resolve and refusal to give up. His determination in the face of impossible odds and his sense of dedication to his cause are powerful motivating factors in Ochako’s storyline, and Deku’s behavior--his willingness to charge straight into danger and his unflinching pursuit of his goal to be #1--have basically become the standard to which Uraraka holds herself.

Her crush is literally founded on an appreciation for Midoriya’s drive, earnestness, and constant growth as a person.

But these are all traits that Shigaraki also explicitly possesses. Shigaraki’s unwavering resolve is so strong that even though everyone around him says dream is unattainable... they follow him anyway.

Ujiko flat out tells Shigaraki he’s chasing a pipe dream, but he’s willing to come along for the ride strictly because of how committed Shigaraki is to making that dream a reality. The strength of Tomura’s conviction alone persuaded a collection of the most volatile and difficult personalities in the manga to band together and become found family the most well-known anti-establishment organization in all of Japan.

Shigaraki never, even in the face of overwhelming threat, backs down from a challenge, and he approaches each impossible task with absolutely as much effort, ferocity, and refusal to quit as Deku. He is just as dedicated, just as much of a shounen protagonist main character, and just as willing to push himself above and beyond as Deku.

The traits that motivated Uraraka to become the character she is today, many of the exact same traits that formed her crush on Midoriya, are all there in Shigaraki. In another world, the person who inspired Uraraka to go “Plus Ultra” could be Tomura himself, and if 1) no sense of self-preservation, 2) ZERO CHILL, and 3) dogged obsession are what Uraraka finds attractive, Shigaraki clearly has 'em covered. Oh no, he’s meeting all my standards.

2) Being serious though, Ochako’s role in the plot would be vastly improved by more meaningful interactions with the antagonists, even if just in battle.

I’ve written before about how badly the writing of BNHA treats Ochako, and why her constantly being out-of-focus is a hallmark of the genre’s crippling inability to handle dynamic female characters, but it bears repeating: in her current position in the story, Uraraka’s character has minimal agency. She exists to fill the role of Deku’s love interest (at worst) and an emotional crutch (at best). Again, absolutely no hate on the IzuOcha ship--it’s clearly canon endgame and “wholesome” I guess is what they’re calling it nowadays. But the way IzuOcha’s being written in canon is actually the worst possible thing that could happen to Uraraka’s individual character, because Ochako’s crush on Deku has been given virtually no bearing on the story’s main plot and allows Horikoshi to consistently reduce Uraraka’s personal accomplishments to “inspirations from Deku” (in order to, likely, fulfill young male readers’ fantasy of having a girl fixated on them).

Is Uraraka about to do something cool in the manga? Wait for her comment about being motivated by Deku.

Does Uraraka actually get to see some action and get involved in a fight? Wait for someone to bring up her feelings for Deku.

Is Deku about to have a dramatic clash with the story’s villains to advance the main plotline? Wait for Ochako to entirely vanish (at worst) or get sidelined into a three panel clip where she’ll use the same martial art move she’s been using since like chapter 10 (at best).

If I have to read “Gunhead Martial Arts” one more fucking time... Give Ochako her OWN supermoves goddammit!!

The story of the comic itself continually pushes Ochako out of any position of relevance. She’s not one of UA’s strongest fighters (despite having a quirk that, if applied like ANY of the male characters, has incredible potential), she’s not given half the emotional depth or attention even side characters like Kirishima get, and her backstory lacks the development many of the male characters’ get (I’m looking at you, Todoroki).

As a “good girl,” she isn’t allowed to get her hands dirty like Toga, she isn’t allowed to get as bloodied or ugly as any of the boys, and she can never be allowed to surpass the main male characters in coolness or plot relevance because girls can be “heroes” but they can’t be The Hero™. (I’m literally gagging, guys.)

Which is EXACTLY why a plot involving Shigaraki and Ochako--in ANY capacity, even just a flat out fight against each other!--would actually be a fan-fucking-tastic addition to BNHA.

Skip the token Toga vs. Ochako chick fight where they squabble over who loves Izuku more. Let Toga talk to Izuku as herself for once. Let Uraraka throw down with the League’s leader. At least once, Horikoshi? Just once?

Literally any form of plot that puts Shigaraki and Ochako into contact would mean moving Uraraka into a more central position within the manga’s plot, would boost her screen-time, increase the likelihood of her contributing to the story’s primary conflict, and would give her more to do and emotionally engage with than just repeating the same lines about Deku being amazing on an endless loop. There is untapped character development potential in spades here if Uraraka was given chance to genuinely interact with the other half of the story’s cast!

Give👏 Uraraka👏 something👏 meaningful👏 to do!👏

Putting the story’s foremost female character on out there on the frontlines with the manga’s actual main character antagonist would finally break her out of the mold she’s been forced into by genre stereotypes and set her on an even playing field with the male heroes at last.

A meaningful encounter with Shigaraki could be Ochako’s ticket to being treated respectfully by the story itself (and hell if giving underappreciated characters a real place in the world isn’t Tomura’s freakin’ calling card already).

3) Okay, I know the words “subverting expectations” leave a bad taste in everyone’s mouth nowadays, but there is a huge difference between “throwing inexplicable plot twists at the audience just for shock factor” and “averting stale cliches in an emotionally rewarding manner.” Sure, cliches do exist for a reason, but there are still many instances where actively avoiding a cliche plotline is a great choice. A shounen manga’s token love interest ending up with someone other than the hero--namely with a (reformed) villain--would be an interesting flip on the trite “hero gets the girl” script.

Look, we all know how it goes: Hero clashes with Bad Guy. They duke it out all over Kingdom Come. RIP like fifty square city blocks. The Hero wins, heads home triumphant, sweeps his Princess off her feet, and sails off into the hero rankings sunset. End of the same story we’ve seen a million times. Sometimes it’s done well and the audience is left satisfied. Other times, the heroine involved is reduced to the hero’s reward, less person than wish fulfillment. In either case, tying up a romantic subplot with a hero is the go-to way of resolving female characters’ storylines and, at this point, pretty much a given in manga, even when the romantic subplot is never given the development it deserves, leaving audiences bewildered at how and why the hook-up actually happened.

I’m not saying every comic should “subvert expectations” and cancel its romantic subplot between the hero and heroine, of course not. But I am saying that it would be pretty refreshing to see something else for once.

By virtue of their role, villains don’t usually “get the girl.” Even redeemed villains rarely end up in happy, healthy, well-written relationships. It’s not impossible but it is unlikely that a series’ designated female lead ever wavers in her attentions from the main hero to a new romantic target.

So it would be pretty cool if one did, if the moral of the story’s romantic subplot wasn’t just "token love interest completes painfully shoehorned romantic gestures.” A good romance with a redeemed ex-villain instead of a hero would take a lot more explanation. It would demand, by its very nature, more work on the author’s part to suspend disbelief. The characters would have to develop an entirely different rapport from the normal interactions between designated love interests, and, to a certain extent, strong character growth would be required in order for such a romance to even get started. There’s more moral complexity and conflict to a subplot like this, and a greater sensation of choice--if the heroine doesn’t have to end with the hero by the end of the story, well hey... That means she could end up with just about anyone. Whoa.

Even more so, in the specific case of Shigaraki, who has lived a life of misery and manipulation, the idea that he could come out on the other side, grow as a person, redeem himself, and eventually enter a healthy relationship with someone who isn’t going to hurt him is an idea I find deeply appealing. I think there are a lot of villain stans, myself included, who see parts of themselves in Shigaraki. If a character who has been so severely impacted by abuse can still heal and ultimately end up happy, to me, that’s a far more hopeful and heart-warming conclusion than the alternatives. I did warn you this manifesto would be rose-tinted, didn’t I?

I want storylines that prove that none of us are beyond saving. That people who make bad choices can still change. That romance isn’t a reward for playing the “right” role. That heroines have options. That there are still pleasant surprises to be found in romance plots.

4) But why Shigaraki and Ochako, in particular? It’s not like they have any remotely shared life experiences--

Oops. Friendly reminder: Ochako is the only major character in the manga besides the villains who is overtly described as, I quote, “poorer than poor.” Todoroki, Yaomomo, and Iida can all make it rain; Kaminari, Mina, and Jirou can afford stylish clothes; Kirishima can drop a stupid amount on night vision googles... Even Midoriya, whose father “works overseas,“ can afford plenty of All Might merchandise. One of the popular fandom theories for a while was that Ochako could be U.A.’s traitor specifically because of her desire to help her parents financially, and I think that most readers at this point can discern a clear divide in BNHA’s society: heroes are the “haves” and villains are the “have nots.” To be a hero in this story is to attend a prestigious school, have access to expensive support items, gear, insurance, fame and glory, etc.

Meanwhile, with the exception of All For One, to be a villain in BNHA’s story is to be marginalized, live in unfit conditions, lack access to basic safety and nutritional resources, and struggle to make ends meet. When ability to thrive in a hero-centric society is synonymous with being a good and worthwhile person, anyone who doesn’t just naturally excel in the hero-driven economy is treated as flawed at best and suspect at worst. Poor characters in the story are ignored, and, as demonstrated with people like Twice, left essentially to fend for themselves.

Uraraka’s status as lower income is mostly played for laughs. She’s still a privileged character in that she can attend U.A., receive hero items for free, has a safe place to live, etc. But it is important that the story acknowledges her family’s situation, because her financial status does set her apart from her classmates.

She is less privileged than the others. Being “the poor character” situates Uraraka in the interesting divide between those who couldn’t cope and chose to rebel against hero society instead, versus those who conformed to the hero system in an attempt to improve their situations. In different circumstances, if Uraraka’s family was just even the tiniest bit worse off, we might be seeing a very different character here, one who had to make some much harder choices to keep her family afloat.

Having been in the position of "going without,” Uraraka also has a unique understanding of the “real world” that many of her heroics classmates might lack. She understands what it is like to go hungry, to not be able to afford to keep up with the newest trends, to be constantly anxious about the future--to feel unsuccessful, overlooked, and under constant pressure to perform. As someone who wasn’t raised in the lap of luxury or even really a middle-class home, Uraraka has more insight into--and would likely have more empathy for--the plight of the downtrodden daily criminals of the BNHA world. Just based on her own life experiences, Ochako is more likely than her classmates to recognize how harsh reality can be, and understand the temptations that lead people to make terrible decisions.

This makes Ochako an especially interesting character in terms of her pro hero future. Would she be able to sympathize and reach out to struggling "villains” more effectively than others from her class, who lack her humble background? Would she be able to better see the big picture of BNHA’s society, and the way it actively creates villains from its marginalized populations? Would she be able to look at the League not just as criminals, but also as people who never stood a chance within the confines of a rigged social structure?

Uraraka’s background shifts her closer to the story’s villains than many of the other hero characters, and puts her in a unique place to both empathize and become motivated to change the flawed system that produced people like Shigaraki and the League in the first place.

5) Likewise, Uraraka’s background actually makes her more palatable to Shigaraki than other heroes. At least at the beginning of the comic, Uraraka isn’t shy about admitting that one of her reasons for becoming a hero is to help her parents financially. Ochako’s original motivation for heroism isn’t portrayed as nobly as others’ like Deku--Deku has no ulterior motives for being a hero; he just wants to save people and wouldn’t care about personally benefiting.

Instead, Ochako is presented as someone who (initially) sees heroism as a means to an end. It’s not that she doesn’t want to save people, but that she’s not doing so only for the intrinsic worth... the hefty paycheck that comes from heroism is a big draw.

Over time the manga has shown her shifting away from this (which actually makes her character less unique, unfortunately), but I’m sure it’s still a thought for her, and she’s definitely going to send paychecks to her parents in the future. At the end of the day, heroism is still going to be Uraraka’s ticket to a better lifestyle, even if she’s committed herself to it honestly by the time she leaves U.A.

But it’s this exact form of personal motivation that Shigaraki is much more likely to understand than the “goody-two-shoes” motivations of people like Deku. Multiple times in the comic Shigaraki has expressed confusion with society’s habit of clinging mindlessly to symbols, of their blind faith in the virtues of heroism, and their ability to simply overlook suffering because “surely a hero will do something about it.” Stain’s ideals about “true heroes” go straight past Shigaraki, who seems to hate heroes who are earnest (All Might, I’m talking about All Might) far more than those who are simply faking their way through for fame. 

Shigaraki understands humans who are driven by personal gain. He respects the individual desires of people he cares about. Someone in the hero industry explicitly seeking tangible benefits would likely, to Shigaraki at least, come across as more genuine than someone who claims they have no ulterior motives, and a person who is blunt about their needs and grounded in the reality of BNHA’s world would likely be much more acceptable to Tomura than someone who spews trite lines about peace and justice.

Shigaraki’s feelings for heroes have been irreparably damaged by his conditioning from All For One, but there are certainly some heroes that he would find less loathsome than others. He will probably never understand Deku’s selflessness. All Might’s saccharine symbolism actively infuriates him. But a person who became a hero to put food on the table? To provide for her parents (maybe especially because it is her parents she’s trying to provide for)? That’s at least understandable. If the manga’s future does see Shigaraki redeemed, my thought is that the only type of heroes we’ll ever see him willingly interact with would still be heroes just like Ochako, with more “down to earth” personal motivations. Uraraka, your codename is “If I had to date a hero”...

6) While we’re talking about shared life experiences, there’s another very obvious similarity between Shigaraki and Ochako: neither one of them can touch things with all five fingers.

Cute/fridge horror observation: Shigaraki is even daintier about touching things than Uraraka is; Uraraka usually lifts just her pinkies, but Shigaraki frequently uses as few fingers as possible.

Yeah, yeah, they both have to be dainty and careful with everything they hold. It’d be cute to watch them eat together. They could mutually gripe about the annoyance of video game consoles not designed for four-finger use. More than that though, neither one of them can touch other human beings without the risk of causing death.

Uraraka, as a hero, has the more privileged quirk design (she can turn her quirk off, while Shigaraki can’t) and until recently, the comic was always very careful to portray Uraraka’s quirk in a way that no one was endangered by it. But dropping Zero Gravity into the hands of a villain for a single chapter reveals the truth: Uraraka’s quirk has just as much lethal potential as Shigaraki’s.

Like Shigaraki, Uraraka has to face the reality that her touch alone could jeopardize the safety of anyone she comes into contact with, in her daily life and in her hero work. Drop some debris without looking twice? Just crushed a civilian. Release your quirk without thinking? Now the villain you floated is paste on the sidewalk. Thought that it was safe to float away the building? Oops, you crushed someone still trapped inside. Yikes. In a one-on-one battle, Uraraka is actually at a disadvantage not because her quirk is weak, but the dead opposite--in an outdoor fight, she would have to actively work not to accidentally send people off into outer space.

Having an auto-activate touch quirk means that both Shigaraki and Ochako have to be conscious of every single thing they touch all the time. Both of their quirks require constant bodily awareness, and both come with the lurking knowledge that “My touch causes problems.” Even for Ochako, who would merely be a nuisance if she accidentally floated objects indoors, it’s easy to internalize frustration and negative associations with one’s own body. Every day, Ochako has to be careful with herself in a way that few of her peers do, another factor that sets her apart.

One of the story’s overarching themes is the idea of “self-acceptance” and what it even means to “accept yourself” in a world where (almost) every human being possesses a distinguishing feature, often built into their bodies at the expense of standard human functioning. For people with limited control over their quirks, who can’t choose when the effect activates, a quirk is a constant burden and facet of their identity that entirely re-shapes how they interact with the world. Both Shigaraki and Uraraka face the practicality of having burdensome, even lethal, auto-activate quirks that require constant self-awareness. This is a similarity that, of the major characters, only Shigaraki and Ochako possess so far. (Even other major characters with touch-based quirks like Overhaul appear to be able to choose when to activate their quirks).

The “funny” way Shigaraki and Ochako hold things seems like just a small similarity until you remember the amount of practice and frustration it must have taken to internalize a four-fingered touch. Until you remember that this similarity marks them both as very careful and self-conscious characters. Until you remember that Shigaraki’s got a one-touch instakill... but so does Uraraka Ochako.

7) Okay, similarities are cool and all, but you know what they say: opposites attract. And if we’re talking character motivation, there are no cleaner opposites in the entire series. Shigaraki and Ochako are actually even better emotional foils than Shigaraki and Deku, because Ochako’s central motivation is “Make as many people smile as possible” and Shigaraki’s is, literally, “Make it so no one can ever smile again.”

I know I ragged on it earlier, but now I’m going to use it to my full advantage: as the story evolved and characters grew, Ochako’s “true” motivation to become a hero revealed itself: she feels a deep, intrinsic happiness when witnessing the happiness of others. Her desire as a hero is to spread relief, the sense of security that allows people to go about their days smiling. She literally feels happiest when everyone around her is happy.

Even more so than Deku, this casts Uraraka as Shigaraki’s diametric opposite in the story, because Shigaraki’s entire pipe dream goal also hinges on the smiles of others--and how absolutely much he hates them. Shigaraki’s goal is total world destruction because he just resents the happiness of others that fucking much.

On the surface alone it’s more fascinating than the story will probably ever live up to: Ochako, the heroine who wants to spread smiles; Shigaraki, the villain who wants to destroy them. Even if we’re just talking canon, zero romance involved, that would still be an interesting conflict to explore. The story could cover a lot of deeper ground by drawing the comparison between these two characters more directly. It would definitely validate Uraraka being involved in more major plot events, at the very least.

BUT this was supposed to be about shipping, so of course I can’t leave it there, and leaving it there would only be half the story anyway, because nobody is born hating smiles. Everything we’ve seen of Shigaraki’s past so far indicates that he was a kid with a cute dog, a warm relationship with his sister, and an interest in heroes--i.e., a decent life that probably included his own fair share of smiles. Shigaraki’s hatred and resentment are direct products of the traumatic manipulation he suffered at AFO’s hands. He despises the idea that people around him can smile and act upbeat, even when they objectively know villains are lurking all around them. He is actually sick to his stomach at the idea of people blindly putting their faith in heroes, knowing what he does: that heroes often fail, that there are many people who desperately need to be rescued and are instead overlooked. The world failed Shimura Tenko and then had the nerve to keep on smiling without him.

Other people’s smiles represent nothing but the joy, security, love, and peace that Shigaraki Tomura hasn’t experienced since the day his quirk manifested. The sight of any living thing fills Shigaraki with rage because everything bright and beautiful, everything good and calm and kind and soft and warm, is everything that Shigaraki has lost and believes he will never, ever get to experience again.

Shigaraki doesn’t really hate the pure happy smiles of others; he hates the fact that the world has taken away every single thing he ever had to smile about.

It is my belief that Horikoshi is hinting at a redemption arc for Shigaraki, especially as we see the League become closer allies. But Shigaraki can’t be completely redeemed, can’t be persuaded to give up his world-destruction plan, until he can look at the smiles of others without scorn. Until the bright, upbeat attitudes of heroes other people no longer feel like a personal attack. Until he’s happy enough that the happiness of others no longer hurts. Until the weight is lifted.

And I can’t think of any character more obviously suited to helping lift an immense weight than Uraraka, the zero gravity hero who wants nothing more than to spread smiles.

8) Speaking of lifting weights... Kacchako is a popular ship stemming in large part from Bakugou’s refusal to treat Uraraka with kid gloves. He faces her head-on as a real opponent and views her like any other hero hopeful.

As I’ve said before, this is pretty much the most respectfully the series itself has ever treated Uraraka Ochako, and it caught a lot of attention because it was one of the rare occasions that a female pro hero-in-training was really treated as an equal to the male characters. Kacchako shippers had something awesome to work with.

But... You know who else treats women as equals? (Hell, you know who treats literally everyone as equals, from those with mutant quirks to trans people to those with severe mental health issues?) You can say what you want about Shigaraki’s habit of, you know, mass murder, but in terms of viewing others equally and respecting (okay, let’s be real, it’s probably closer to just ignoring) differences, Tomura is about as open-minded as BNHA characters come. The League is an equal opportunity employer.

Unlike actual hero characters, Shigaraki has never once suggested that Toga is incapable of keeping up with any of the male members of the League, and in fact has entrusted her with many of the League’s most dangerous and crucial missions. He explicitly has faith in her ability and skill.

Toga’s right there in the fight against Gigantomachia and the QLA, as much an equal member of the League as anyone else. In terms of gender equality, the villains seem to be light-years ahead of their hero counterparts, and Shigaraki in particular doesn’t discriminate, among his allies or his opponents either. He’s not a “spare the women and children” kind of guy; every hero and villain challenger is treated with equal violence (and equal snark), whether they’re male, female, a long-time pro or a student in training.

In whatever context--canon opponent, AU ally, or a future romantic interest--Shigaraki would take Ochako just as seriously as Bakugou did. If you like Kacchako because Bakugou doesn’t dismiss Uraraka, that same dynamic would be present in Shigako too.

9) And on the topic of Shigaraki and women... It doesn’t feel accidental that every single female character who ever had love for Shigaraki has been taken away from him. A distinct part of Shigaraki’s storyline is that all positive female role models have been systematically removed from his life. He lost his grandmother, a hero he could have looked up to; he lost his mother, who he now has no memory of; he lost the older sister he clearly held dear... All For One’s control over Tomura has always been total, but this particular detail feels especially insidious: was All For One’s spite for Nana so strong that he delighted in deliberately destroying every single relationship Tenko had with women connected to Nana’s legacy? (Or is AFO perhaps just a raging misogynist? Every single one of his known associates is male and he seemed to despise and mock Nana particularly hard...)

In any case, the point I’m trying to make here is that, even ruling love interests out, Shigaraki’s storyline would be enriched by forging a meaningful connection with a female character like Ochako. Acceptance--maybe even some grudging admiration--for a female hero? A fantastic opportunity to show just how different the “villains” are from the discriminatory society that produced them. Supporting friendship while he’s on the road to recovery? A+ way to diversify interactions between the male and female cast. Send a tough girl to Tartarus to question his motives? Nice chance for tense dialogue and some good old noire-esque foe yay. Hostage situation that takes a turn for the surprisingly cordial? Fun way to explore different dynamics and humanize the villains because hey, they treated the “damsel” to dinner shortbread cookies. My god, Shigaraki could even develop some positive sense of rivalry with a woman, for example! The possibilities are endless if you’re actually willing to give female characters a shot!

Being more serious, Tomura’s life has been dramatically marked by the loss of his female family members, and--at least from what we know so far--his entire youth was spent without the presence of reliable friendships, let alone any form of “love” that wasn’t disturbingly fake. Beyond his fragmented memories, he has no models for healthy relationships, romantic or otherwise.

Letting Shigaraki develop to the point that he could form a mutually positive relationship with a female hero character would be extremely cathartic for me as a reader. I don’t mean “rewarding redemption with a last-minute happy ending romance”--I mean actually getting the opportunity to watch Tomura rediscover what it means to be genuinely loved and realize he has the capacity to give love and be happy in return...

Reaching that level of mutual support and closeness--especially with a female pro hero--would be the biggest “FUCK YOU” that Shigaraki could give to All For One, short of, you know, actually killing him.

Shigaraki Tomura has a critical (and deliberate) lack of healthy connections to women. BNHA, coincidentally, has a criminally under-utilized female lead just twiddling her thumbs over here, waiting for a meaningful plotline to be thrown her way.

Sure, putting AFO in prison is cool and all, but have you considered... crushing his pride and legacy of evil by helping the boy he tortured for years learn to love again? I’m just sayin’!

Uraraka Ochako, snatching Shigaraki right the fuck out of AFO’s hands:

10) Basically what the whole thing boils down to is this: Shigaraki Tomura needs a hero.

Don’t mistake my meaning. A lot of “girl meets bad boy” plots end up amounting to “girl becomes emotionally responsible for fixing bad boy’s issues,” and that’s not what I’m gunning for--Shigaraki has to redeem himself because redemption is only meaningful when it stems from the character’s own inner desire to change; I’m not quite rose-tinted enough to buy into the Love Redeems trope myself. I’m definitely not advocating anyone dump Shigaraki Tomura as he is now into Uraraka Ochako’s lap and expect her to turn him from a beast to a beauty. It’s not an unrelated woman’s responsibility to fix a broken man.

But! From a reader’s perspective, I think we can agree: Shigaraki’s redemption cannot be complete until he learns to believe in real heroes. He doesn’t have to like them. He doesn’t have to support hero society. But he has to be able to look at real heroes like Izuku and Ochako and admit that they are doing what’s right--that society is a better place because they are here. Shigaraki’s path to recovery can’t even begin until he’s capable of at least acknowledging that the world has things worth saving in it.

If Horikoshi moves forward with a redemption arc for Shigaraki, it will probably be Deku who Detroit Smashes the message of truly noble heroes into Shigaraki’s head. That’s his job as the resident Warrior Therapist, I suppose. But you know... to me, it might be even more meaningful if Shigaraki’s hero--if the hand that reaches out to rescue him--isn’t The Hero’s™ but just a hero’s. We all know Deku is selfless and good to the core. As All Might’s perfect successor, he really has nothing to prove. It’s everyone else who is in question. It’s the whole rest of hero society that owes Shigaraki Tomura an explanation for the suffering of people like the League’s members. It’s everyone else who needs to prove they can do better--that in the future, there will be no bloody children left abandoned in back alleyways.

Uraraka Ochako’s conviction is to save people. As a female hero who hasn’t lived a privileged life, she’s uniquely situated to think about those who are most often overlooked. In a world where violence begets violence, where only those with strength and flash excel, what a powerful message it would send for the terrifying antagonist to effectively be rescued by someone the story itself has called “a frail girl.” At the end of the day, heroics isn’t supposed to be about mountain-destroying explosions and mach punches--heroics is supposed to be about heart, about reaching out a gentle helping hand, about spreading smiles to those who need them most.

Tomura’s faith in heroes has been brutally stripped from him, and every part of his conflict is tied up intimately with his misdirected hatred: it wasn’t actually heroes who isolated and hurt him--it was villains. In order to move forward, he will have to come to that horrible realization, deal with that means for himself and his place in the world, and recognize the truth: there are goodness and good people in the world. Selfless heroes, those who wouldn’t turn their backs on a crying child, do exist. There are people, even now, who would extend a kind hand to Shigaraki Tomura and do their best to bring a real smile to his face. Because that’s what’s really going on, after all.

Shimura Tenko is still waiting to be saved.

And I know just the person to do it.