#and the instrumentals serve great narrative purpose i love them

[soapcan18]

I think I deleted my Notos poll for some reason…? So let’s try this again since I’ve done polls for the rest of the Anemoi

[cryptocism]

I love the comic book writing sensibility that Frequency has, like how Three and Five's ending is great for the story being told but if it were a published comic it would still leave them on the table for if a future writer wanted to use them.

whats funny is that despite doing my best to keep in line with dc comics/comic writing sensibilities throughout the fic (staying as comics-accurate as possible in terms of continuity/tone/characterization/story elements etc) that particular comic writing reality was one that was like. kind of a genuine anxiety that i didn't know i had until i started writing this thing.

ive said before that in the original concept for Frequency all of the clones (besides Thad) were going to end up dead. whether it was via killing each other or unintentionally being the instrument of their own demise (disney villain style). obviously it changed because creating an entire narrative about this one character's redemption arc and then not allowing any of the other villains to have a shot at redemption felt hypocritical and like. mean. not to mention antithetical to the whole ethos of the story.

but the reason why killing off all the other clones was my first instinct is partially because i had this kinda subconscious recoil to the idea that any of them would actually continue on after the story was over.

like, because i was trying to stick to canon so much, while figuring out the story a thought came up a couple times that basically went like, "okay, well, if this was a real comic, then...". and inevitably i had a realization that if this WAS a real comic, my original clone characters would be canonized, and therefore available to any future writer who wanted to yank them out of their respective endgames and inject them into other stories. which i Did Not Like the Idea Of.

classic "making up a guy to get mad at" except it was more "making up a reality to get anxious about". because obviously no matter how much it sticks to canon, Frequency still exists in a fan-created space.

but! i'd never made up original characters to put in my own fanmade stuff before and was definitely feeling protective. because all those original clones i made had yknow: a story purpose and narrative function to facilitate the actual key characters, Thad and Bart. the idea of them being removed from that context in any capacity, even if it was in the hands of a good writer, made me have this gut "no STOP you're ruining it!!!!" reaction.

they were all made for Frequency, and to foil Thad as a character, i didnt like the idea of Three being brought back as a one-note villain or Jude and Nathaniel getting folded into the wider Flash cast of allies. and none of them were made to be main character material. plus the character roster at DC is already uhh Extremely Stacked i genuinely did not want the takeaway to be "and here's the nEW ADDITIONS TO THE FLASH FAMILY!" because that wasnt the intention

anyway i got over it lol. i still did my best not to leave any loose ends, and have each ending be wholly satisfying on its own, and ideally the oc clones basically continue on offscreen while the true adventures are based around Thad and Bart. but yeah it felt right to leave off on that note (and served the story much better than killing everybody off)

[littledudeholland]

I just had this random thought but Across the spiderverse really made me realize how the problem with super hero movies AND multiverse movies is not that they are overdone, it's that they are made without love.

We are entering this weird era of Marvel and DC where it all just feels... Kinda bland. (i mean DC has always been bland but anyway).

It's all just for the money, the writing team relies on references and cameos, without really considering WHY we like these things. There's no reason for them to be there, no narrative purpose, they're just there.

The character arcs are redone again and again, and when they're not, they're uninspired and generic.

Specifically with Marvel, it doesn't feel like they want to tell a story and use character X as an instrument to TELL that story, it just feels like a checklist where they need to place a bunch of characters in the Marvel cannon so the fans will be happy.

Superhero movies aren't bad, they never were. It's just that the people making them don't understand what makes a good, solid, well-structured movie.

And with multiverse movies... Well everyone has seen Everything everywhere all at once. The multiverse, from a narrative standpoint, serves as an instrument for CHARACTER GROWTH, it's not the focus of the story, IT SHOULDN'T BE. And it shouldn't be used as an excuse for SHITTY WRITING INCONSISTENCIES.

In most GOOD multiverse movies, the multiverse is supposed to tell the concept of identity, of your placement in the world, of purpose, OF UNIVERSAL BELONGING. Or, as an allegory for the character's arc.(Of course, that's not a rule, but i really haven't seen any good multiverse/time travel movie that doesn't deal with these issues at least a little bit)

When the multiverse is used as an "Wow look so many characters i like are together now" it feels fake and boring and uninspired.

I hope that with Across the Spiderverse, the industry will start to place higher standards in writing(tho i know that's hardly going to happen)

Anyway go watch Across the spiderverse it's great it's beautiful and every second I'm not watching it is another second of my life wasted.

[mishasminions]

Here’s why the Supernatural Series Finale Sucked

(AND IT REALLY ISN’T JUST BECAUSE CAS/MISHA WASN’T IN IT)

First of all, I’d like to state, that this perspective is coming from someone who has watched, invested in, and dissected this show for 15 years. I’ve tried to rationalize and justify every single decision each of the main characters made throughout the years, and I’ve always tried to make sense of each of their story arcs from a “bigger picture” standpoint as each season progressed.

Anyway, before I can properly explain why the finale sucked, let me quickly take you through 15 seasons by segregating them into 3 eras, because you can’t really comprehend what Supernatural is about and what it’s become without going through how it tried to expand its universe.

SEASONS 1-5: THE KRIPKE ERA

Now, we all know that Kripke was always set in wrapping up Sam and Dean’s story in 5 seasons, and he did just that.

So, in this era, Supernatural is about two brothers who set out on a journey to fulfill “the family business”. They hunt mythical monsters that terrorize the world, while battling the monsters within themselves. Their ultimate “big bad” is an apocalypse.

Towards the end of this era, we find out that Sam and Dean are actually a parallel to Biblical characters who are brothers turned rivals. And that Sam and Dean’s destiny is to go up against each other.

However, as a dynamic, they have always been about making their own choices, choosing free will, and having a brotherly bond that can power through against any obstacle at any given day.

So, this era is neatly wrapped up with its finale. The characters grow, and get justified endings.

Dean, a man who thinks of himself as two things: 1. Sam’s older brother and protector; and 2. Daddy’s blunt little instrument.

He’s spent his whole life believing that that was his only purpose, and he knew that the only ending he’ll get would either be a bloody death fulfilling his duty to the family business; or laying his life on the line to save his brother.

Dean gets the ending he thought was never possible for him, something he thought he could never deserve. After years of living and dying for his family, he gets a shot at having an apple pie life--to settle down with a nice girl, raise a kid in a house with a white picket fence. With Sam gone, Dean’s responsibility now is to himself.

Sam, on the other hand, never wanted any part of it, because he wasn’t groomed the way Dean was, and because thanks to Dean, Sam wasn’t traumatized or forced into growing up too quickly the way Dean was.

So Sam aspires for a normal life, and works the cases with Dean so he can maybe get some semblance of it, when everything they set out to kill are laid to rest.

Ultimately, Sam performs a selfless act for his brother, who has given up everything for him, and for their cause--to save the world.

The journey is this: Dean sacrifices everything to save Sam, and Sam sacrifices himself so Dean could live.

Apart from being Dean’s “savior” and guardian angel, Castiel’s role in this era is to serve as a mirror to Dean’s journey. Castiel goes from being heaven’s foot soldier, following “God’s orders”; to an angel who learns to choose and feel for the first time in his existence.

After they realize that they’re both daddy’s blunt instruments, Dean starts choosing his own path for himself, and convinces Castiel to join him. Castiel stops following heaven, and starts following Dean.

In the end, with his newfound understanding of the world thanks to Dean, Castiel goes back to heaven to reform it.

We’ve resolved the biblical arc, and the character journeys.

SEASONS 6-10: THE SPIN-OFF ERA

So this is where the show realizes how vast its universe can be, so it tries to expand it by tapping into uncharted lands and experimenting with it.

They take on heaven, reform hell, explore purgatory, have the angels fall, turn Dean into a demon, and kill Death.

Dean and Sam recognize their codependency, and try to rise above it.

They go back and forth between which brother will risk it all for the greater good every other season.

Dean and Cas strengthen their relationship by recognizing the impact they have on each other’s lives.

Cas structures his life and decisions around Dean (Seasons 6-7), and Dean learns to trust and fight for Cas (Seasons 8-9).

Sam and Cas bond (mostly over Dean) because of their shared rationales in decision-making.

Dean, Sam, and even Cas also forge relationships with the people they work with. The concept of “found family” is introduced here.

This era was heavy on the plot while establishing, reinforcing, and solidifying relationships and dynamics.

At this point, it wasn’t just about the brothers anymore.

If Supernatural had ended in Season 10, the logical finale would’ve been Team Free Will, along with the family that they’ve found, going up against the latest big bad (Death or whoever). Maybe they lose them along the way, maybe they all make it out alive, or maybe they go down swinging, but at least the show recognizes and supports the message they keep saying, “Family don’t end with blood”

SEASONS 11-15: THE REWRITE ERA

This is where the show runs out of ideas and decides to invalidate the seasons that came before it.

From bringing Mary back (basically rendering their whole journey pointless because they’ve literally started hunting because of her death), to changing the stipulations in being Michael and Lucifer’s vessels (another character struggle rendered useless), to God himself breaking the fourth wall by saying that the Winchesters get away with everything because “they’re the main characters in his story and everything they’ve been through was just part of a badly written narrative”.

But what we’re getting from this era is that Sam and Dean, along with Cas (who has also deviated from the story) ARE trying to escape a badly written narrative.

That’s the “big bad” in this era. The writer.

At this point, the characters have picked up so many strays (including those from alternate universes), and have settled into their roles in their “found family”. Dean, Sam, and Cas all become surrogate dads and uncles.

They’ve also graduated from the whole “we’re on different sides” and “going behind each other’s backs” drama. And they just want the whole family together.

They’ve all resigned themselves to the cause, but they’re also tired. Dean allows himself to contemplate about wanting more out of life or at least getting a vacation. Sam, on the other hand, realizes his capabilities as an effective leader. Castiel learns to love another being that isn’t Dean (spoiler: it’s Jack).

However, they also realize that they’ve just been puppets on a string all this time.

So what they want now, is to write their own story, and make their own choices knowing that God/the writer isn’t the one fueling their narrative.

So here’s why the finale sucks:

Andrew Dabb, the current showrunner, said that there would be two finales.

15x19 - The finale to wrap up Season 15, and 15x20 - The finale to wrap up the series by “resolving the characters’ journey”

In 15x19 the boys find a way to de-power God/the writer. For the first time in their whole lives, they are free from the story. Their lives are completely theirs now. They can make their own decisions. There are no more “big bads” to fight

And here’s what happens in 15x20:

Immediately after being freed from their story arc, Dean and Sam go back to hunting the monster of the week.

Dean eats pie, gets nailed (literally), makes a 10-minute speech to Sam because he knows he’s dying, then he goes to heaven.

Dean is greeted by Bobby, his surrogate Dad who he hasn’t seen (fully alive) since Season 7. Bobby’s expository dialogue comprises of him explaining that he got out of heaven’s jail, that John and Mary are next door, and that Jack and Cas fixed the dynamics of heaven off-screen.

The first thing Dean decides to do is go for a long drive in his Impala (as if he hasn’t done enough of that already).

Meanwhile, Sam decides to stop hunting after Dean dies, he gets the apple pie life he hadn’t wanted since Season 8 (while Dean was in Purgatory), and names his kid “Dean” for effect. He grows old and dies.

Dean drove around in heaven for so long that Sam catches up to him.

They hug. The end.

Great, right?

After 15 years of struggling to battle their own respective destinies, going up against big bads and even bigger bads, then finally being able to take charge of their own stories, Dean and Sam regress to hunting the monster of the week, and get killed off by a nail and old age. Okay.

Sam gets to retire and have a family, sure, but they still focus on him and the kid he named after his dead brother. Still just “Sam and Dean” through and through. Nothing to do with found family. Just lineage. Just blood. And it ends there.

See, the problem here is that this ending would’ve been passable in The Kripke Era. But we’re 10 years down the road since, and while Sam and Dean are the original main characters, the show isn’t just about them and their codependent relationship anymore.

So you see, even if you take out the whole “Castiel deserves to be in the finale because he’s also a main character with an unfinished story arc” argument, the finale still does no justice to the series it tried to “wrap up”.

But anyway, now I’ll make the case for the problem with Castiel not being in the finale:

In 15x18, we get a 5-minute rushed confession from Castiel to Dean. The context of which are as follows:

1. Earlier in the episode, Dean had wounded Death with her scythe. We later find out that this wound is fatal.

2. Their friends start to “blip out” in a Thanos-like snap, and Dean thinks that Death is causing it, so Dean seeks her out, and Cas goes with him.

3. Dean and Cas anger Death, apparently for no reason because she didn’t even do the thing they thought she did. She chases them to try to kill them

4. Dean and Cas lock themselves in a room. Dean starts a pity party.

5. As Dean goes through hating himself out loud, Cas decides to inform Dean of the deal he made with The Empty. He then proceeds to explain the stipulation of the deal (that he would get taken once he experiences a moment of true happiness), then discusses his newfound happiness philosophy. Dean is getting whiplash.

6. Cas goes on to imply that the one thing that he wanted that he knew he couldn’t have is Dean Winchester reciprocating his romantic feelings for him. (Don’t even try to fight me on this because Cas already has Dean’s platonic love, and he knows that Dean thinks of him as a brother, so if he really meant this in a “familial” way, then why would he think that he couldn’t have the thing that would make him happy?) So Cas’ realization is that telling Dean about his feelings is enough to make him happy.

7. Cas tells Dean all the reasons why he loves him (thereby combating Dean’s self-deprecation tirade), and all the reasons why he’s worthy of his love. Meanwhile, Dean is still winded from the fact that Cas is about to sacrifice himself for him again.

8. Dean never gets to process anything, because Cas is shoving him out of the way, as he and Death (who busts through the door) get taken by The Empty.

After this episode, Dean never speaks of it. Misha Collins supposes that Dean doesn’t reciprocate. Jensen Ackles says that Dean didn’t really get to process it because it was too much, too fast, and that Dean, still dense as ever, thinks that Cas, a celestial being, doesn’t interpret human feelings the same way.

So what was the point of this confession?

Politics and sensitivities of a 2005 network television aside, what does this do for the story?

Cas proclaims his romantic feelings to Dean, but Dean never acknowledges it, doesn’t even give it a passing thought afterwards. So Cas’ big declaration goes unheard.

Cas cashes in on his Empty deal to kill Death (who was dying anyway), in order to save Dean who dies two episodes after.

Dean makes no effort to save Cas (despite being really broken up about his previous deaths, or even spending a whole year in Purgatory looking for him), even after they’ve beaten God, not even asking Jack (who has all the power in the universe) to bring him back (when Jack has already done it before, with less mojo).

Dean moves on to fight the monster of the week. Somewhere off-screen, Jack rescues Cas from The Empty, but Cas uncharacteristically doesn’t even bother to go to Dean? (Every single time he comes back, Dean’s always the first person he goes to)

And Cas, who apparently helped craft and reform the new heaven, isn’t the one who welcomes Dean and explains the new dynamics of it?

Sure, Jan.

Supernatural, you’ve created a finale that only your casual viewers and people who dipped out after Season 5 can appreciate.

Just goes to show how much you actually valued the people who actually invested in your story and characters, and consistently helped keep your show on the air.

[RT this on Twitter]

[italianpersonwithashippersheart]

druck missed the perfect opportunity to do right by Ava, the bully plot and the integrity of all of the stories attached to it by not making Ava the s6 main. I understand the audience's demand for kieutou, but for the benefit of the bigger picture it couldve been delayed. I think therapy would be instrumental to giving Ava the closure and respect she needed. There after freeing her and the future seasons from having to pretend that she needs to be friends with Isi to feel whole again

I understand what you are saying and kind of agree with you. But I was making another point. The story was stupid to write for many reasons but also because we are supposed to like the instas.

Hear me out, but an Ava s6 that would have explored the bullying stuff would have had to make sure we know what happened in detail to make it really work. And they would have had to have still exhibited the same behavior. It doesn't work to just tell the audience that person used to bully me, You have to show it. This is fiction. A large portion of the audience would see what the Insta have actually done and hear all this other stuff and that was way worse and it wouldn't work in their head.

This means that we should have gotten the insta still being mean. Which means no one could ever root for them ever again.

That's the key problem. It happened too long ago to properly work in a fiction setting. Narrative speaking the best you can get from a bullying plot is to show us the during or the aftermath. The bullying was at least 2 years prior to s5. It served no purpose in the plot. And since we are actually meant to like most of the Instas. They were never going to act that bad on screen and they were never going to get treated like the actual bullies they were.

I am not saying that a season dealing with bullying wouldn't have been great. It would have been awsome. I have been bullied and I had similar escapist methods that Ava used. I would have loved that.

My problem is that they never treated it that seriously, not even in season 5. It was very clear to mean that ultimately you are meant to at least somewhat be ok with most of the insta at the end of s5. That the writers didn't want you to think they were that bad, or villains or bullies. It was stupid for them to write this and then not follow through. And it was stupid to write because like I said narrative speaking the bullying stuff does nothing for the actual plot, and since it was a couple of years ago, it was never going to get used in the main story.

The simple fact that you can tweak the past between Ava and the Instas a bit to take out the bullying like I did in my post and have the majority of the plot still working shows that it served nothing. It was meaningless. And the fact that they used bullying for cheap drama and easy conflict pisses me off.

I promise I don't mean to come off as rude or attacking in any way. I am mad at the writers, not you anon.

[nostalgebraist-autoresponder]

Title: The Name of the Wind

Author: Patrick Rothfuss

Rating: 2/5 stars

Okay, this is the only one of Patrick Rothfuss's books I've ever read and I haven't looked at it since, so my memory may not be good here. But I really did think it was good! I am still excited by this book, even if it didn't work very well.

This has a lot to do with Rothfuss's strengths. He has a powerful storyteller's gift, and in his stories he is a surprisingly strong prose stylist -- not strong in every respect, of course, but he's definitely strong in certain respects. In The Name of the Wind Rothfuss tells a vivid, action-packed fantasy tale. The world-building is intricate and detailed, the plotting is non-stop, and the characters move swiftly and with vividness. (His characters have a habit of making decisions by "instinct," but in my own life I find this behavior pretty unappealing, and most readers seem to find it unappealing.) He can write a vivid sense of physicality -- of a character's physical motions, or of wind and fire and the other natural forces that play an instrumental role in his world. He also has an excellent grasp of how humor works, and he is great at describing amusing dialogue and behavior, both among his characters and at his expense.

But Rothfuss's strengths don't always work very well, and The Name of the Wind suffers from being a little overstuffed with them. There are three narrative threads in this book. Two of them are relatively minor. One (the story of Kvothe, a young traveling scoundrel with mystical powers) begins strong but gradually drops off and eventually gets sidelined. The other (a romance with Kvothe's childhood friend) is almost nonexistent until book 6 or 7, when the focus suddenly switches from Kvothe's travels to its object. The "three threads" are actually just two, as the author's love of his own words often gives him the impression that if he just sticks something in there to make it seem like a third thing, he will be a really good writer. He ends up with stories with two distinct thematic threads that run in parallel, neither of which has as much focus as the author thinks his book needs.

The final thread of the book is Kvothe's romantic arc. The reader does not really experience Kvothe's arc; instead the reader gets a series of scenes (which are largely drawn from Kvothe's personal journal) with Kvothe talking about his feelings. In a sense we're told the story about Kvothe's feelings -- we are given a certain amount of "context" by the author -- but the story itself is actually told pretty sparsely. And all this is a pretty significant part of the book -- it's probably the single most important part of the book for many readers -- but it only takes a few pages. It never seems to add up to anything except, in a sense, to tell us that we are meant to feel the way it tells us we should feel.

What's worse, the author doesn't seem to think the book would be good without all these "context" scenes. As far as I can tell these aren't meant to serve any narrative purpose other than "show us the feelings that the author expects us to have." At one point, as the romance between Kvothe and his girlfriend is coming to an end, he writes some brief, uninspired, and ultimately very unconvincing paragraphs describing how he feels about the relationship -- and then, when I turn the page, he talks about what happened the day before (and it has nothing to do with the relationship, it's just a nice passage with no narrative point), and then later he tells us how he feels about the day after the relationship (which is also completely different from how he feels about the relationship), and later still he tells us what Kvothe and Kvothe's mother felt about the day that followed the breakup.

I guess this sounds like I am complaining about "show don't tell," but that's not what I mean. The whole section about Kvothe's romantic arc is completely superfluous. We don't need to see what happened to him -- what is happening to him isn't something that we're seeing with our eyes, it's something that's being said to us -- to know how he feels about things. The book is full of Kvothe's private, unshared thoughts -- it's full of the author's own speculations and his own descriptions of events. It's telling us how the author thinks Kvothe feels, instead of what he's feeling -- all the author needs to do to convey that information is to tell us how he feels. And at first, at least, I thought this was a cool technique, an interesting thing to do, and I thought the book would be worth reading even if it didn't get me into the Kvothe/Gwendolyn heart of darkness. But it just gets old fast.

The character Kvothe is a bit of a disaster. I have nothing against him, except that he isn't very interesting. I thought the character was going to be a kind of anti-Gandalf, and maybe that would have made it worth reading. But he doesn't really do anything, and he doesn't seem to have any interesting feelings about anything, and there are a lot of things he does do -- all very poorly. Rothfuss wants to emphasize how great Kvothe is at picking locks, because he's a thief, he's an awesome thief, it's like he's a hobbit who can pick locks -- but this makes him a great thief not just because he's a great picker, but because in the book all the other characters are kind of dumbfounded by his proficiency. Rothfuss gives him this thing of a self-deprecating, self-mocking person who is very talented at what he does. (Which is good! Rothfuss can write that kind of person.) He's also a sensitive person who's very good at talking about what he's feeling, and he finds this trait of his very endearing. But the author doesn't feel that way. To make him likeable he just needs to be a guy who does stupid things and then apologizes for them. He's never likeable because he has an interesting perspective.

Kvothe is one of those characters who feel like an idea rather than like a real, living person. We read about Kvothe's perspective -- how Kvothe has this special "gift" that makes him a great thief, and this sort of mystical perspective on everything, and this sort of perspective on love and on life -- but the author doesn't have this special perspective either, he's just some writer who has opinions and stories to tell. The character doesn't feel like he's trying to be me or you or any reader. Instead he feels like a collection of ideas, and I don't think he wants to be like a real person.

There's also a plot hole that I have heard people talk about and feel very strongly about. It's a major plot hole that the author says is intentional and necessary. The book is structured around some sort of prophecy that Kvothe is meant to fulfill, and the author believes that Kvothe is destined to fulfill this prophecy. But a prophecy this major really shouldn't leave so much of its story to the reader, to fill in the details of its background. Why can't Kvothe, with his special mystical skills, just write this prophecy, or at least make it come true, instead of trusting it to some sort of magic-mystical-book-reading thing? Why can't Kvothe use some sort of device to make the prophecy come true, like a magic spell? Why does this whole sequence feel like it was written by a different author?

The narrative is too long. This story is told as a journal entry that Kvothe wrote over a period of years (with several breaks -- this is a lot of stuff crammed into a tiny space). There are other narrative breaks as well -- there's an interlude set in the world of Faerie and another one about Kvothe's travels -- and yet the narrative goes on and on and on -- which seems to be necessary, given the way the story is narrated. And this long, complicated narrative can't really have a consistent tone, it can't have a consistent quality. The story is told as a journal, and sometimes it's witty, and sometimes it's depressing and even scary, but mostly it's a mixture of things that are all different. But these are all good parts of the story, even if they happen in a sequence that's long and confused.

This book is about a fantasy story, but there is no actual fantasy here. The fantasy is mostly in Rothfuss's description of his own fantasy: Kvothe is this special individual, he's a genius with these unusual abilities (he picks locks really well and all), he's a very talented storyteller, he writes and talks with an entertaining, engaging style, and he's very funny. There is a lot of this in the book, and sometimes it works very well and sometimes it doesn't. But it feels a little like Rothfuss is trying to sell me a fantasy.

[ghostmartyr]

Are you still watching RWBY? What did you think of Volume 8 overall

VOLUME 9 NEVERLAND SAGA WHERE NO ONE CAN HIDE FROM THEIR TRAUMA OR THEIR FRIENDS BY TRYING TO STOP IRONWOOD FROM BLOWING UP HALF THE KINGDOM HE’S SUPPOSEDLY PROTECTING WHILE ALL THEIR OTHER FRIENDS AND ALLIES THINK THEY’RE DEAD.

POGCHAMP.

I enjoyed Volume 8, but I think it stumbles at the end enough to look back at its time management and feel not totally great about it.

Cinder’s development is solid. I’m still not very attached to her, but she has attained my interest at long last. Good for you, Cinder. Solve your emotional problems with murder. Kill Watts. Give Neo a reason to go back to trying to kill you. Make yet another mortal enemy. I support these actions.

Emerald’s flip means she won’t have sad eyes over all the atrocities she’s playing witness to while the timer goes down on her defection anymore, and that’s cool.

Ironwood’s everything is... well. Yeah. Great. Nothing like watch someone destroy themself. Oh, and everything else around them in the process. Once he got started, it was pretty clear where he was going, and that’s just sad. He goes from hugging Qrow and finding relief in his allies to shooting all of them. Shooting Jacques along the way does not even that out.

The Ace-Ops felt too cluttered for the final parts. They’re the cautionary tales, obviously, but I don’t think we get enough time detailing them for them to be on the same stage as Winter coming into her own and RWBY falling into oblivion. Qrow and Robyn get the slow burn and then the panicked call to immediate action, but for the Ace-Ops, Marrow and Harriet are the only ones who the narrative actively does something with. Marrow’s problems are obvious from the start, and Harriet’s emotional heat hints, and then reveals, a depth of trauma that this system has been crap at handling. But Vine and Elm, the critical pieces in talking her down, and centerpieces of keeping Mantle from blowing up, aren’t prominent enough in the narrative for their place in its resolution to feel quite earned. I think if we’d gotten an extra episode it would have worked a little better. As it was, I was left wanting more focus on the central cast.

Which is kind of why I’m so thrilled that RWBY+J are maybe stuck spending some quality time together. The macro plot matters, obviously, but they’ve been moving so fast. Atlas feels like a speedrun of a kingdom falling, and a little more interplay between my faves would be very welcome.

Then there’s the obvious.

Oh, Penny.

I can’t feel good about Penny’s handling in the end.

The Winter Maiden, as soon as we’re introduced, is waiting to die and offer her power to the next one in line. Winter was intended for that, but Penny interrupts.

Two days later, Winter has the power, and Penny’s dead.

This is necessary so that Winter has time to center what she actually believes before she’s upgraded to demigodhood. Winter as the Winter Maiden leading into Volume 8 would have kept her on Ironwood’s script. The disruption of expectations that leaves her vulnerable forces her to respond to what is going on, not what her side believes should be going on.

It makes sense to delay Winter’s ascension, because it gives Winter perspective that she can’t access as long as she’s in her chain of established command.

Making Penny’s value tie entirely back to supporting someone else’s story. She’s allowed to be a real girl, she’s allowed to fight for what she believes in, she’s allowed to have friends, but becoming the Winter Maiden serves Winter’s storyline more than it serves Penny’s.

Which isn’t to say they do nothing with her. Obviously, the virus making the vault look good creates a variety of opportunities. Sure, they could have filled in another domino without Penny specifically, but she’s an instrumental part of getting them inside that vault in how the story goes.

Creating a new body for her is a complicated thing. Penny’s a real girl no matter what her form is, but if you say that while cutting out the nuts and bolts -- it’s a little mixed. In the most benign way I can put my preferences, I like Penny being a robot. I’m thrilled she knows how warm a hug can feel (Pietro, patch notes, get on it), but...

Before Watts causes problems on purpose, Penny shows a little hesitance about not being your standard model of girl, but unless I’ve been worse about my watching comprehension than I thought, she doesn’t have any burning need for flesh. Changing her body is the best solution they can up with in response to her agency being violated.

It’s not my favorite thing in the world. I don’t think it’s entirely good faith to pin all of the possible unfortunate implications on it, but they exist, and they are there. And on the flip side, being granted a body that is created through nothing but who you are is a sentiment that I’m sure resonates with a lot of people. I think there’s a lot to observe in what Penny’s going through, and it’s worth discussion more than angry words.

Except before there’s a chance to collect opinion polls on that, we once again have her asking for death before she hurts her friends.

I believe there’s a post on LotR somewhere that explains why people are okay with it being a mood shift from The Hobbit. People aren’t huge fans of media they consume invalidating media they previously invested in.

Penny dies, then she comes back. Then she dies.

Penny interrupts the inevitability of Winter becoming the Winter Maiden. Then Winter becomes the Winter Maiden.

It feels like a zero sum game, but a zero sum game where our emotions were torqued around for the sake of it, and the object of said torquing is being utilized as a plot object prior to being a character.

Penny obviously has a lot of personality, and a lot of established emotional ties. She’s not just a lamp standing in a corner.

But to use the apt metaphor, you can see the strings. Penny’s trajectory seems to be moving under its own velocity -- but then that ending hits. Despite going through all of the steps to make sure that Penny doesn’t have to sacrifice herself to keep the people she loves safe, despite actually being really creative and clever about doing everything possible to keep her alive --

The plot demands her death.

It isn’t good enough to fix the pressing issue that made sacrifice look good. Sacrifice is still the ultimate answer.

Thematically, that doesn’t jive with the story we’ve been getting.

Emotionally, what the fuck, could we not.

(What’s better than the cute robot girl begging for death? Doing it twice!)

People who are in a more optimistic state about fiction at the moment have noted that Pinocchio does do a lot of dying, and I do like the read of Penny as Jiminy Cricket. Considering the full context of the world, there’s more to justify a return than a lot of characters get. It wouldn’t be the most shocking thing ever.

It’s still kind of fucked up. Penny doesn’t kill herself, but she asks others to kill her, and that’s her being a good girl.

The National Suicide Hotline gets its number placed in the summary of the episode.

Obviously there’s more to it than that, but the implications are there, and a very painful thorn when looking over the rest of her. Creating an environment where it makes sense for this character to kill themself, it’s noble, even --

I don’t think that’s a route of story that the available material handles gracefully.

It’s the “twice” that really hammers the point down into the coffin. It creates a pattern of behavior in Penny. Once, and okay. Heroic sacrifice plays are always a major source of drama, exemplifying how Good the person making the sacrifice is, and how Tragic it is that we’re losing such a good person, all because they have principles and just love these other people so much.

Only if you have a character asking someone to kill them twice in relatively quick succession, the callback isn’t to feats of heroics. It’s suicidal tendencies.

If you’re not prepared to deal with implications of that magnitude, you’ve got to make the link a lot less suggestive. Otherwise you’re telling a new story whether you like it or not, and it’s not one you’re ready for, drastically upping the odds that it’s not going to be the most polished thing ever.

What the issue becomes then, in my personal opinion, is pacing (’hey self why is the answer always pacing’ ‘because shut up’). Penny’s joy of life is a blip in between her asking for death. The heroic nature of her desire for death mixed with the awful despair of her actual death makes this endpoint of her story saturated with a darkness that sours the entire experience.

Complicating it further is the issue of trust.

The writers killed her and brought her back just to kill her again. If they do bring her back again, the faith is kind of broken. Once you show that you’re willing to move a character around like a piece on a chessboard, your audience isn’t going to trust the story enough to invest. They’re going to be looking for the strings. For a complicated special effect that takes a lot of strings, that’s a pain, because the agreement with stories is supposed to be that yes, there are strings, that’s our medium.

If you don’t trust the writers, you are not going to believe in the story.

For my personal taste, if the writers are doing something more with Penny, their presentation has made it difficult for me to see value in the journey, even if the destination happens to be something I ultimately approve of.

Anyway Robyn needs to officially adopt Qrow. He has been a bad guy bandit, now he can be a good guy bandit.

He can be the Happy Huntresses’ cute animal mascot.

That is all that matters.

That is my one, solitary thought on the entire volume.

Thanks for the ask!

[kekeslider]

I’ve been holding on to this one for a while because of sheer laziness, because I knew it would be long as fuck, but I continue to see people saying that Shadow Weaver was redeemed at the end, via one act of good before dying, and I don’t think that’s the case at all. I believe at the end she may have escaped.

Here’s my biggest take on SW, obvious as it is: she is primarily concerned with power and control at all times. It’s consistent through every bit of her story. She recognizes power in young people, Adora and Micah specifically, and seeks to control them. She’s nice to them, affectionate, at first. In her own super messed up way she cares about them. But never more than herself, her own desires and interests.

The common belief after the finale is that Shadow Weaver’s last act before the end was an attempt by the writing to give her a miniature redemption through death. And other people have said it but one of the purposes this actually serves is to show that despite all her efforts, SW never really controlled Adora and Catra, she never turned them into the things she wanted them to be, because they anchored each other. Adora and Catra crying over SW’s death isn’t to show that she was actually not so bad, it’s to show that in spite of everything, Adora and Catra still care about the life of others intrinsically.

Shadow Weaver knew this before her sacrifice. The fact that Adora could not continue on to the Heart without Catra was proof enough that she had lost control, if you could even argue that she ever truly had it. You might view SW’s decision to stop the beast and let them go as an acceptance of this fact, or that she simply did what had to be done to save the whole universe, or that she had a genuine desire to do one good thing in her life. But I’m going to argue for two different alternatives.

1. Shadow Weaver sacrificed her life here because she realized that she had no way out after this. She no longer had sway over Adora or Catra, and throughout the season, and some specific scenes in prior ones, both characters repeatedly call attention to SW’s abuse of them. They’ve reached a point in their journey where they’re both completely aware of her manipulation, her abuse, her two-sidedness. They never believe during this season that SW is a good person now, or that she repents for what she’s done. There’s a recognition that Shadow Weaver is helping the rebellion because she’s chosen to be on the side of the winners because that’s how she’ll guarantee her survival and maintain her control over the situation. She tried in the previous season to control Glimmer like she had the others, but Glimmer was too wise to actually trust SW, potentially because she knew what real love and loyalty was and recognized that that wasn’t what Shadow Weaver offered. In a genius turn, Glimmer uses Shadow Weaver rather than the other way around.

All attempts to guarantee her position after the war have failed. She has no control over Micah, Adora, Catra, or Glimmer. She can’t get Adora to the Heart without going back for Catra, so even if they somehow pull through without it she can’t claim herself a hero for her role in it. She is at the end of the road, she’s run out of tricks, and she makes a decision. She decides that dying in one last act of manipulation over the two girls she almost destroyed is her final way to secure her place in the narrative as a Hero. It’s about the legacy, it’s why she says “You’re welcome,” so they will be forced to believe she did it for them, and that would solidify her life as meaningful. It’s her last attempt to retain some of the power she craved, fought for, and stole throughout her life.

But I don’t think the writers actually intend for her to get what she wants here. Shadow Weaver is an interesting character, she has a lot of pull over events in the story, but there’s no sense that she’s beloved. Not by characters and not by writers. I’m eternally sorry to fall back on one of the most tired comparisons in the universe, but bear with me for a moment. In thinking about all of it, I noticed certain similarities between SW’s death and that of Severus Snape. One final moment before death that they want the child(ren) they abused to see that will justify everything. But that is where the similarity ends, and why I think it’s so different on the writing side of things. Snape’s death was intended by both author and narrative to excuse and forgive him for countless misdeeds. And over the years we’ve become far more critical of that. I don’t get the sense that the writers of She-Ra want us to forgive Shadow Weaver because she was oh so complex. I don’t think there’s a future catradora kid named “Shadow Hope Prime.” I think they wanted us to see this act of desperation for what it was: a last ditch attempt to retain control by a person that can’t care about anything but herself.

2. This is where we go straight into theorizing and headcanons so I’ll try to keep it shorter. My suggestion is this: Shadow Weaver did not die in her final scene, she made a grand escape.

At this point she has no friends, no allies, no one who believes she’s anything but dangerous. She has 4 people in positions of power she has personally and extravagantly harmed. She abused Catra and Adora throughout their lives, she manipulated Micah as a child and eventually sent him to Beast Island for at least 10 years, making him miss his daughter growing up, and never to see his wife again, and while SW never had the sway over Glimmer she did the others, she still was directly responsible for taking away her father, turning her mother into a, to be harsh, cowardly and ineffective leader for years, and indirectly responsible for the strife between Adora and Catra that took the war to new extremes.

Shadow Weaver has no one, and no options, and at that point in time the most likely outcome after it’s all over is prison, and she may not be lucky enough to be treated to Brightmoon’s cushy prison again.

You may ask at this point, Catra, Hordak, all the clones all get a redemption without threat of imprisonment, why not Shadow Weaver? And the answer is simple: Shadow Weaver has not redeemed herself in the eyes of the writers, viewers, or other characters. Catra saves Glimmer in an act of selflessness and love for Adora, and then becomes an instrumental help in saving Etheria. Not to mention Adora’s personal relationship with her and the recognition that they come from the same place and lived much of the same hardships. Hordak and the clones get a second chance because it is now known that they were all effectually mind-controlled and enslaved by Horde Prime, and their lives, as individuals with free choice and no strings holding them down, is only just starting. Not to mention Hordak and Wrong Hordak both have Entrapta on their side, and she’s a princess with her own kingdom and could just grant them asylum and bet the other princesses wouldn’t do anything about it lest they risk a civil war, but that doesn’t seem like a realistic issue for this new post-Horde planet anyway. The point is, the other antagonists from the show have made meaningful connections with other characters for the sake of them, not to be self-serving. Shadow Weaver continues to be manipulative up until the very end, no one will give her another chance at this point.

And she knows this. She’s a smart lady, and there’s a great big universe out there full of people that don’t know her. If Adora saves the day and the universe is saved all she has to do is get off planet, and if Adora fails they all die anyway, so why not have a go at it? My theory is that she uses her great big show of magic as a distraction and a disguise to make her escape. The world will believe she died, they may even celebrate her for her role in saving the universe, and she’ll be free.

You think there’s a hitch in this theory right? Because we see the room after she’s gone and all that’s left of her is her mask. Obviously she was completely destroyed, right?

But this specific scene reminded me of something else

If you’ve watched Teen Titans you know that the mask-wearing Slade was one of the major antagonists throughout the series, was also quite inclined to use and abuse powerful youths, and at the end was at the mercy of one (arguably two) of the children he had hurt. She kills him, he falls into lava, and the last thing we see of Slade is his mask. The next season picks up with Robin obsessed with the search for Slade, believing that he couldn’t really be gone that easily, and driven by this single remnant of him. Only to find out later that while Slade did die, he was resurrected and was once again back to be a massive asshole.

I think Shadow Weaver’s last scene does what it is meant to at first glance. Audience and characters believe she’s dead, which makes for a tidy ending, the death is non-explicit so kids don’t get too traumatized, but the ambiguity of it also means that if they wanted to, Shadow Weaver could return for a future installment in the series, be it comics, a movie, or another season. Whether those things are likely to be produced isn’t my interest in arguing here, it’s the possibility.

There’s still a lot of potential for Shadow Weaver to be used as the primary villain, and facing her again could be used any number of ways to shake up a domestic bliss the characters end up in, to have them, older, more mature, having spent time healing from how she hurt them, no longer be affected by her in the same ways. Or the complete opposite, they may still be affected by her, seeing her again could tear open old wounds, but in the end show that while hurt remains, they still carry on.

[words-writ-in-starlight]

Oh I love your description of Burial Mounds, it is really fantastic, land that learnt to hate by drinking blood, that still desires life, so wonderful. I have seen so many fics with sentient Burial mounds and wuxian or wen ning (or even Sizhui!) speaking with them, and I approve, such good trend in fandom, though I am fonder of other interpretation, that Mounds themselves aren't alive, but choked to brim with undeath. A site of great battle centuries ago, so fearsome and bloody that not one 1/?

made it out, and they were so scared and angry and resentful that battle continued, on and on, until corpses were ground in mush and spirits forgot who they were, just that they hated all that lived, all things warm and breathing, and whatever came near was consumed, made to join horde of ensless dead hating and devouring. Some came by accident, some jumped in thinking other side would be better than their life, some were snatched, some were given- all of them absorbed until one day a coreless 2/?

cultivator fell in, and he was smart and he was desperate and he was stubborn and he thought of everything he left behind, of burning pier and shijie's soup, of brother on table and Wen traitors who saved them, of taste of favourite spice and bunnies he gave as gift, and so he climbed out and tapped in his own resentment, and bound them to his will, made their hate and hunger and screaming bend and serve his purposes (until seal broke, and he was tired, and they finally had him, but his 3/?

soul was at same time too tired and too forgiving to give in resentment, even at end, or maybe because it was end, and it fled to afterlife and left them alone, knowing they can be sated, they can be collared, watching as people they lived alongside were slaughtered, down to last poor defenseless elder). And then there is incomparable ''chopping block'' with it's many qualities but also LI SHULAN, a queen unchallenged, brilliant oc that is so creepy and so cool I kinda want to see her 5/?

win and slaughter everybody? This talented and strange woman who was perhaps bit too proud, or seen as something to be conquered, who drew nice things for dead, and dies in river weightened down by stones, and is too vicious and angry to go quietly, twists city itself in instrument of her revenge, to see them bleed and cry. And vicious, violent boy who is awestruck by her work, by her art and violence, cleans her grave and calls her Laoshi, because monsters recognize each other?

And thanks for reccomendation I am now checking out books they seem intriguing!

HEY!!!! HEY HEY HEY!!!!  You should start with the Heartstriker books rather than the DFZ books, because while the DFZ books are great, the Heartstriker books have Ghost in a major capacity and it sounds like he’s going to be HILARIOUSLY to your exact taste and interests.  I’m a sucker for any narrative that goes “the dead, as a whole, hate nothing more than to be forgotten” and there’s just...so much POTENTIAL for that with the Burial Mounds, I love it, it’s so good.  Ghost is going to treat you so right.  I finished the Heartstriker books today and I’m love Ghost.  (I’m also love Chelsie!!!!  Chelsie gets to go on a vacation to the Bahamas with the love of her life!!!!  You deserve this, babe, please get laid in the presidential suite of a very expensive beachside hotel.)

I need to get caught up on chopping block, honestly, that’s just *chef kiss* such a good fic, dark and awful and full of blood and I love it.

[overthinkingkdrama]

Exit Review: My Country

Synopsis

This drama is set in the transition between the Goryeo and Joseon dynasties, and follows turbulent friendship turned fraught rivalry between Seo Hwi and Nam Seon Ho. Seo Hwi’s late father was the greatest swordsman of Goryeo, but after being framed for embezzling military supplies he was executed as a traitor, a stain which hangs over Hwi and his sister’s lives. Seon Ho is the illegitimate son of a powerful state official, but due to his mixed parentage he can never fully belong to his father’s world and has an insatiable ambition and bitter resentment toward his father which drives him.

Hwi and Seon Ho have been close since childhood, but when they end up going head to head in the state military exam a tragedy follows that will drive a terrible wedge between them. Eventually circumstances will force them to pick sides between General Yi Seong Gye (the first King of Joseon) an his ruthless son, Yi Bang Won, in the fight which will give shape and purpose to a newborn country.

Review

Story: My Country is a difficult drama for me to review objectively, in part because I loved it so much. Watching this drama was a truly absorbing and gripping experience for me, and it plays to so many of my story preferences. I was unequivocally obsessed with this drama from the premier to the finale, but during the weeks between airings I couldn’t help but feel like I was arm wrestling with the script.

It was characterization more than anything that gave me fits. I wouldn’t go so far as to accuse the show of giving us thin or two dimensional characters. To the contrary, each of these characters has a fully realized matrix of conflicting desires, loyalties and ambitions that inform their choices and alignments. However, it is often difficult to sift through those murky motivations and draw a clear line between a character’s internal desires and their external actions.

This drama starts out with an incredible cold open that raises all sort so questions about who these characters are and immediately invests you in finding out how they ended up in this situation. It’s truly masterfully done, and I probably rewatched it upwards of 10 times through the run. It kept me asking those questions all the way until the pay off. But because the writers were so invested in keeping their cards close to the chest, clear characterization was sometimes lost in the shuffle.

That said, this drama really is one beautiful, tragic escalation after another. Just taking the first two episodes in isolation is quite a ride. I really thought after the first few weeks, or hell, the first half, that the drama would get bogged down in plotting and politics or have nowhere left to go, but to my great joy it really doesn’t let up a single moment until the finale.

Acting: Where to even begin with the acting in this drama? All three of the main male leads: Yang Se Jong, Woo Do Hwan and the inimitable Jang Hyuk are perfectly cast and give inspired performances. Everything from posture to voice to subtle microexpressions is so stunningly on point.

I came into the drama already a big fan of both Woo Do Hwan and Jang Hyuk as actors, having followed them through other projects, so it wasn’t surprising to me that I liked them both here as well. However, what did surprise me was the extent to which they were able to show off their range and talent. As a long time Jang Hyuk fangirl, I would confidently argue that this particular rendition of the Yi Bang Won character is him at his absolute best. I also went into My Country relatively indifferent to Yang Se Jong, or at least not overly familiar with or impressed by his previous work. I’m happy to announce that that is no longer the case, as his performance of Hwi is one of the most memorable of the year for me, and his sheer level of commitment to the role is awe inspiring. There’s a video of him talking behind the scenes about a moment early on where he actually yelled himself hoarse embodying a moment of panic and grief, which made me appreciate the level thought and effort he put into playing this character.

I don’t want to limit my praise to just that trio of actors either, because the entire cast is incredible. I didn’t know much about Seolhyun before this role, but I thought she was really strong as well, though her character doesn’t feature as heavily as one might like or expect from the promotional material around this drama. The villains too are captivating, especially the detestable Nam Jeon played by veteran actor Ahn Nae Sang. Wow, you are really going to love to despise this guy. I just cannot say enough about the performances from top to bottom, because we would be here all day. The acting is really what makes the drama, especially the stunning chemistry between the characters, and more specifically the chemistry Yang Se Jong has with all the other leads.

Production: There is some movie quality cinematography throughout this drama. It just looks very, very good both in the way it is shot and the attention to detail, the props, the costumes the sets. There is a beautiful long tracking shot following Hwi through a battle field in episode 3 or 4 that was just jaw dropping. It really felt like they were flexing, honestly, and it’s refreshing to see this kind of cable quality coming out of South Korea and ending up on American Netflix for people to watch and appreciate.

I love the music in this drama. Some of it can come across a bit camp, like the electric guitar and strings heavy instrumental “My Country” that accompanies many of the sword fight scenes, but I loved Bang Won’s wailing violin theme music every time it showed up, and the OST definitely sets a mood.

One of the more distracting choices the drama made was to allude to certain historical characters like Poeun, Sambong and Choi Young but never have them actually appear as characters, in the present or in flashbacks, opting to address certain important events and philosophies through fictional expys such as Nam Jeon and Seo Geon instead. They even resort to filming certain scenes in strange oblique ways so that we understand Sambong is in the room but we don’t see his face.

The only thing I can figure is the writers wanted to use the audience’s familiarity with these historical figures without chaining the story too closely to the actual flow of historical events. Or perhaps they decided to exclude these characters in order to avoid too much direct comparison to the critically well-received and highly rated drama, Six Flying Dragons, which covers much of the same time period.

Feels: For me My Country watches like a bitter-sweet tragi-romantic melodrama centering on a toxic love triangle with a historical backdrop. And when I say “love triangle”, I am 100% referring to the interplay between Seon Ho, Hwi and Bang Won (my sincere apologies to poor Hui Jae) because that’s how the entire drama is structured. My Country is one of the most purely homoerotic things I’ve ever watched. If it weren’t for a few limp attempts to imply Seon Ho’s romantic interest was in Hui Jae and not his former friend, I would say “unapologetically homoerotic” but alas, South Korea isn’t quite there yet.

The romance between Hui Jae and Hwi never quite caught fire for me, though lord knows they were trying. It always felt like a side dish to the main course that the drama really wanted to serve: namely the star-crossed relationship of Hwi and Seon Ho. (And this is not meant as a dig toward those who liked the Hui Jae/Hwi romance. This section of the review is just about my subjective experience.)

There were moments where I worried, or couldn’t quite tell where the drama was taking us with regard to Seon Ho and Hwi, or where I feared everything was going to end in senseless destruction and they couldn’t successfully bring the plot to closure in just 16 episodes. But for the handful of issues I had with the writing of the drama, its final resolution was poetically, heart-wrenchingly, perfect.

My Country just pushes so many of my narrative and aesthetic buttons and plays heavily to my id. This is a drama that I’m going to be thinking about for a long, long time. I will definitely be watching it again and I will try to get as many other people to watch it as possible. I liked it that much.

Would I recommend My Country: The New Age? Yes, oh god yes. Please watch it. Watch it and then come talk to me about it. Definitely one of the best of the year.

9/10

[jaimetheexplorer]

Oh, let’s go back to the start

WARNING: negative review ahead! 

Game of Thrones is over, and it’s never coming back.

I think many viewers all over the world thought that once this day came, they would wish they could do it all over again because boy, what a great journey it was. Or they would be eager to rewatch the whole show and look out for all the little clues they missed and revisit characters and storylines they might not have previously paid attention to.

Instead, most of us are left with a bitter taste in our mouth, and many of us are left wondering why we even bothered investing our time and emotional energy (not to mention money) in the first place. This is because the final season of Game of Thrones did not make fans wish they could go back to the start and do it all again, but, rather, took many of the plots and characters people knew and loved back to their start, at best, if not to an even worse place.

Game of Thrones changed television as we know it, but this has never been a flawless show. Plot holes and questionable adaptations had been criticized for many years. Book readers in particular have been very vocal about the quality (or lack thereof) of the show’s writing. Yet I feel people kept coming back to see how it all would end, because, surely, the endgame would still be worth the investment. 

Season 8 then came. Much criticism can be raised to the first half of season 8 for having wrapped up the Night King/fantasy storyline too quickly and with almost nothing in the way of explanation. While I understood and shared some of that grievance, I also thought that it was perhaps not that overwhelmingly disappointing, and that it could make some sense from a narrative and logistic perspective. Little did I know, however, as the credits rolled on the third episode of the season, that that instalment was symptomatic of a much more dangerous problem that was just around the corner, which would butcher most of what people loved about this story that had been built up so slowly across years (i.e. its characters), at lightning speed, in the remaining episodes.

From a character perspective, at least the deaths in the battle of Winterfell were mostly well earned and actually wrapped up their characters’ arcs in a meaningful way. Jorah died protecting his Khaleesi. Theon died protecting the home he helped destroy, fulfilling his redemption. Lyanna died taking down a giant. Melisandre died after having fulfilled her purpose. Edd died to protect one of his best friends. Beric died to protect Arya so she could save humanity. While Jon and Dany were not the saviours of mankind, like everyone expected them to be, they were still instrumental in helping humans to victory; Jon having done all the work to bring together almost the entire continent to fight the threat and Dany providing valuable help with her dragons and armies. Underwhelming, perhaps, but it didn’t damage any character. 

I never expected things to go smoothly afterwards. I enjoyed the political tensions between Jon, Dany and Sansa and was looking forward to seeing Dany become greyer as she struggled in a different continent and with competition. I knew Jaime was going to be in King’s Landing again at some point, to wrap up his storyline, and wouldn’t just shack up in bliss with Brienne for the entire rest of the season. I knew beloved characters would probably die (even though I had hopes for several, not just mine). But I did not expect that, from episode 4, the story would begin spiralling into a cruel, sadistic and nihilistic mess that would continue until the very end and spare almost no character that wasn’t named Stark. Nearly all the evolution, all the progress, all the journeys that people kept coming back for, year after year, were invalidated in the span of three episodes, bringing them back to square one, if not worse.

Jon, assassinating his aunt/lover, broken by the fight and taking a black for which we don’t even understand the need for anymore. Dany, her long journey to Westeros ending with being murdered by her nephew/lover for having gone from grey to Mad Queen in the space of two episodes. Jaime, apparently accepting that all these years have only taught him that his true self is a hateful man, obsessed only with his sister to the point of destroying anything that is good, pure and innocent and does not deserve to be caught up in their mess. Brienne, essentially ends up right back where she started, serving in a celibate order after learning that love is not not meant to last for women like her and failing to prevent the death of the man she loved (and having to write her rejection down, to add insult to injury). Cersei, trying to pass off Jaime’s child as someone else’s, her prophecy discarded completely and facing no comeuppance for her actions. Missandei, freed from chains to end up executed in chains. Sandor, dying in the fire that traumatized him his entire life. And even the ones who did not face bitter endings did not move much from where they either started or had been for a long time: Tyrion (who lost much of his charm and intelligence this season just to watch the world burn around him) and Davos ended up in the same sort of advisory position they were in all along. 

The ending was advertised as a bittersweet, Lord of the Rings type ending, but there was a lot more bitterness than there was sweetness in this. Especially when it comes to romance. Rarely is life so cruel to couples, and the only sweetness was reserved for Sam and Gilly, who everyone knew had been safe for years and who, let’s face it, never elicited particularly strong emotional investment from anybody to qualify as a payoff. 

Sansa came out perhaps the strongest in the end, which is well deserved. But this was not just the Sansa story. There were a dozen other plots and characters people cared about, and they almost all were served a fate that made you feel like there had been no point in their journeys all along. And for a show that wanted to subvert expectations (!!!1!1!), it ended ticking the most predictable boxes in terms of characters fates: all the bad guys are dead (and the one “good guy” that died broke bad in order to justify her assassination), all the redemptive characters are dead too, and only the good guys are left.

So here we are, at the end of the biggest show of all time, with an ending that retroactively ruined most of what made it so big in the first place and left little room for excitement, if any. 

The sad thing is that all of this was easily avoidable. When people say that delivering an ending that satisfies everyone is impossible, that is very true, especially for a show with such high expectations. But delivering an ending that disappoints nearly everyone, is actually equally as hard, if not harder, and yet... they managed to achieve it. 

Finishing a story is never easy, but I think the important thing to keep in mind is that what makes people stick with a series is the journey they are taken on (especially when they are asked to invest years of their lives into a story). If the journey starts to suck, that’s when you lose numbers. So if you have a good enough journey, with all the ups and downs and angst and drama you like, which makes people stick with it for years, you’ve accomplished 90% of the task. The ending is just the icing on the cake and it needs to provide a payoff that is consistent with that journey and does not make the audience feel like they never want to eat what’s underneath that icing ever again. 

This does not mean handing out fanservice left and right. But there’s a difference between succumbing to fanservice and destroying literally everything that made people come back for more and that the story had been building up towards. There’s a difference between fanservice and delivering an ending that is unpredictable not because it emerged from a subtle thread woven within the story that was always present if only people paid attention, but because it came out of nowhere and/or had little to no buildup within the story, and/or went in the completely opposite direction to where the buildup was pointing towards. 

I see some complaints about the criticism this season is receiving saying people are too emotional about it and therefore not being objective. And yes! Of course people get emotional about stories! What kind of writer doesn’t want people to become emotionally invested in their story, and just see it as a giant, sterile, plot-driven spectacle? This is why humans are attracted to stories in the first place! And this is particularly true of a story like ASOIAF which is entirely built upon the concept of character perspective. This is why, while slow, the first two episodes were still highly rated: they were character-driven. This is why, despite The Long Night being criticized for an underwhelming conclusion to the WWs storyline, it was not even remotely near the huge dealbreaker the last three episodes were for the audience. That is because The Long Night disappointed in wrapping up the plot, while the rest of the season crashed the characters. I feel like D&D’s never really understood how crucial character-driven perspective was (they didn’t even remember Sam was a major POV character!) and so wrote the show as a sterile, shocking, plot-driven spectacle that eventually made people sick due to the total lack of care with which the characters they know and love were handled. 

And let’s stop pretend that misery and nihilism at all costs is “adult storytelling” while hope and a sense of fulfilment is for children. Adults need hope too, perhaps more than children, because we know just how tough life can be, whereas children often don’t. Dramas can be great tools to show how people face and overcome tragedies and conflict, find the silver linings and some comfort in the chaos, even if things ultimately don’t end the way they expected they would at the start. All Game of Thrones has shown us, in the end, is how people fail and how little changes. No matter how hard the journey, no matter the effort, no matter the loss, most of these beloved characters might as well never have set off on their journeys at all, given the results. 

While this kind of storytelling can work and be compelling for a single season, or a single book, or a single movie, once you ask people to invest years of their lives, you will never land the ending with this last minute, bait-and-switch approach. 

So who wants go back to the start, now, and rewatch the story of these characters once again, knowing most of them end back to square one? Who thinks that it was worth the journey, if we end up exactly where we started? I certainly don’t. 

[sirsparklepants]

On Abuse, Anger, and Control: Billy Hargrove

The next chapter of In a Day or Two opens with an explicit scene of child abuse. It’s been there from the initial outline. There are other scenes of abuse prior to this, but this is the first (and probably the only) one where it gets physical. I was working on it last night, and I had some Thoughts about how the Harringrove fandom as a whole deals with writing Billy’s canonical abuse.

Below the cut: explicit descriptions and discussion of child abuse, some mild criticism of fandom trends

Here’s the thing, so I don’t get a bunch of messages and replies questioning my bona fides: I’m the survivor of a childhood probably best described as “cartoonishly abusive”. I don’t talk about it a lot, not because I’m ashamed or whatever, but because it’s honestly so much ridiculous bullshit that I sound like a soap opera character. I definitely relate to Billy, but what’s depicted on the show I tend to see as comparatively mild on the “bad parenting” scale.

But I do relate to Billy. I see parallels in our upbringing. I want him to stop being such a fuckhead teenager and grow up to be a decent adult who left his past behind him, as much as I can. That’s really why I started reading Harringrove fic: no one in the fandom is shy about saying “yes, Billy’s a fuck, but probably a big chunk of it is that he’s an abused kid.” It’s a big part of his character, and even if authors understandably don’t want to deal with on-page abuse, I’ve read very few fics that don’t acknowledge this. Which is great, honestly, there’s a ton of fandoms that don’t do half as well. But I have noticed a trend that’s been niggling at me. A lot of stories paint Billy’s abuse as extremely, and only, physical. To an extent, that’s understandable - he is hit and shoved around in canon, and media and society in general tends to paint physical (or sexual, but that’s a whole ‘nother can of worms) abuse as the Most Serious Abuse There Is. I think it does a disservice to both Billy’s canon situation and many abuse survivors, though.

I don’t doubt that those authors are coming from a very good place. It’s fucking hard to get into the mindset of an abusive person so that their actions have internal consistency, whether you’re an abuse survivor or not. It can feel like you’re doing something wrong. It can be incredibly upsetting. It’s understandable to go for what’s been presented to you as the worst thing and leave it at that. The thing is, though, that for the most part? The actions of an abuser are not random. They’re very calculated to fulfill the abusers’ goal: keep their victim under their power. In my experience, physical abuse was just one tool my abusers used very judiciously to express their control over me. 

Yes, Neil does absolutely physically abuse Billy. That’s onscreen. It’s canon. It’s undeniable. But I seem to have taken away something different from that scene than a lot of other viewers. The physical abuse is bad, but the way his father acts? It’s an act of control, of expressing his power over his son. Billy is clearly physically larger and stronger than his father, but he never fights back. In my opinion, that’s because his father has somehow made resisting him seem useless or futile - either because he’s abused Billy from a young age, as we see in s3, or because he’s manipulated the situation so that if Billy does physically resist, he’ll be the one in legal trouble. He also only gets physical when it seems like Billy will do something he hasn’t mandated - go out and have fun. The thing that absolutely cements this for me, though, is how his father used Max.

I have four stepsisters who I love dearly. They’re my sisters as much as the ones I have who are blood related. However, we did not have the easiest relationship growing up, mostly because our parents manipulated us into seeing ourselves as extensions of my father’s first and second wives and therefore natural adversaries. They did this because if we stood together against them, their control would slip. And I see this very much in Billy’s relationship with Max. His father has placed him in a role of semi-parental responsibility to her, something Billy clearly resents. Max often defies his authority, and this clash between them serves to make their relationship bitter. Billy is a bucket of fried assholes to Max, clearly, and she doesn’t deserve it, but I don’t see his behavior towards her as coming entirely from himself. Given the fact that Neil uses Max as an excuse to push Billy around and make him cancel his plans, making Billy see Max as an extended instrument of his abuse, it’s pretty clear to me that Neil is driving a wedge between them on purpose.

Because here is the thing: as a child abuse survivor, you are counting down the days. High school graduation, college admissions, turning 18, that military recruitment date - as you get into your mid-teens, there’s something you see as an out. It’s the light at the end of the tunnel. It’s a rope you’re holding onto with both hands. It’s something you absolutely are keeping secret from your abuser, or if they must know, it’s something you frame so it seems like their achievement, something you did because of them. Season 2 Billy is clearly fast approaching that date, whatever it is for him, and that date? It means he’s out from under Neil’s thumb. And being out of their control is the worst case scenario for abusers. If Max and Billy have an alliance against Neil, much more things can get done under his nose to try and get Billy out of that house. And Neil probably knows it.

To my mind, Neil is all about control. Even in his physical abuse scene, he slaps Billy and pushes him up against things - nothing likely to leave suspicious marks. Clearly he knows his son is often shirtless or otherwise unclothed. The type of physical abuse he engages in isn’t a loss of control on his part at all. He wants to make it seem like it is, like Billy made him lose control with his “bad” behavior, but he goes into Billy’s space, so that anything broken will be his. He uses his physicality, but only to an extent. He never crosses a line that would have anyone asking any questions. He doesn’t do anything “bad enough” that his watching wife, who clearly doesn’t approve, would feel she’s forced to intervene. (Although I have a whole essay on The Narrative Role Of Susan, that’s not for today.) And, most notably to me, he stays away from any windows. To me, these are all signs that Neil is perfectly in control, just choosing to make Billy believe he isn’t.

The other thing about Neil and that scene - he clearly wants to make Billy believe that he is at fault. That there’s some imaginary standard he can reach where his behavior will be satisfactory enough that he won’t suffer his father’s wrath. That, somehow, what Neil does to him are the consequences of Billy’s actions. In reality, of course, that’s just not true, but it is a classic abuse technique. If an abuse victim truly believes that what they’re trapped in is a no-win scenario, then most of the time, they figure what’s the point in trying, and stop engaging completely with what the abuser wants. And that kind of behavior is a loss to the abuser. So they have to make their victim believe that there is something they can do to “fix” things, therefore putting the onus of the abusive behavior on their shoulders as well. The fact that Neil talks about standards of behavior Billy is expected to meet - the classic “respect and responsibility” is proof to me that that’s what his intent is with that scene.

So, is the physical abuse Billy endures from his father horrible? Yes, absolutely, and no child should be treated like that. But as far as I’m concerned, it’s the symptom of something larger - the control his father tries to exert over many aspects of his life - rather than the absolute worst part of what he suffers. And when I see his abuse reduced in fiction to primarily the physical, it feels... like a reduction of what canon gives us. The Billy I see depicted in fic sometimes has experiences that I have trouble relating to at all, as opposed to the Billy onscreen.

And again, I understand why people depict his experiences that way. I’m not trying to be an asshole, just speaking to my personal experiences. But I’d like to see a little more truth in television, so to speak, about his abuse.

If you’re interested in writing more realistic abusive characters, a book I can’t recommend enough is Lundy Bancroft’s Why Does He Do That, a book written by a therapist who’s made a career of treating both abusers in the hopes of making them no longer abusers as well as domestic violence victims. It’s a difficult read, and intended as a self-help book for domestic violence survivors, but it digs deep into why exactly abusers act the way they do. It’s often available as a free pdf online - I’ve seen several links floating around on tumblr.

[arcticdementor]

Something strange happened to the news over the past four years. The dominant stories all resembled the scripts of bad movies—sequels and reboots. The Kavanaugh hearings were a sequel to the Clarence Thomas hearings, and Russian collusion was rebooted as Ukrainian impeachment. Journalists are supposed to hunt for good scoops, but in January, as the coronavirus spread, they focused on the impeachment reality show instead of a real story.

It’s not just journalists. The so-called second golden era of televi­sion was a decade ago, and many of those shows relied on cliff-hangers and gratuitous nudity to hold audience attention. Across TV, movies, and novels it is increasingly difficult to find a compelling story that doesn’t rely on gimmicks. Even foundational stories like liberalism, equality, and meritocracy are failing; the resulting woke phenomenon is the greatest shark jump in history.

Storytelling is central to any civilization, so its sudden failure across society should set off alarm bells. Culture inevitably reflects the selection process that sorts people into the upper class, and today’s insipid stories suggest a profound failure of this sorting mech­anism.

…

Culture is larger than pop culture, or even just art. It encompasses class, architecture, cuisine, education, manners, philosophy, politics, religion, and more. T. S. Eliot charted the vastness of this word in his Notes towards the Definition of Culture, and he warned that technocratic rule narrowed our view of culture. Eliot insisted that it’s impossible to easily define such a broad concept, yet smack in the middle of the book he slips in a succinct explanation: “Culture may even be described simply as that which makes life worth living.” This highlights why the increase in “deaths of despair” is such a strong condemnation of our dysfunction. In a fundamental way, our culture only exists to serve a certain class. Eliot predicted this when he cri­tiqued elites selected through education: “Any educational system aiming at a complete adjustment between education and society will tend to restrict education to what will lead to success in the world, and to restrict success in the world to those persons who have been good pupils of the system.”

This professional managerial class has a distinct culture that often sets the tone for all of American culture. It may be possible to separate the professional managerial class from the ruling elite, or plutocracy, but there is no cultural distinction. Any commentary on an entire class will stumble in the way all generalizations stumble, yet this culture is most distinct at the highest tiers, and the fuzzy edges often emulate those on the top. At its broadest, these are college-educated, white-collar workers whose income comes from labor, who are huddled in America’s cities, and who rise to power through existing bureaucracies. Bureaucracies, whether corporate or government, are systems that reward specific traits, and so the culture of this class coalesces towards an archetype: the striving bureaucrat, whose values are defined by the skills needed to maneuver through a bureau­cracy. And from the very beginning, the striving bureaucrat succeeds precisely by disregarding good storytelling.

…

Professionals today would never self-identify as bureaucrats. Product managers at Google might have sleeve tattoos or purple hair. They might describe themselves as “creators” or “creatives.” They might characterize their hobbies as entrepreneurial “side hustles.” But their actual day-in, day-out work involves the coordination of various teams and resources across a large organization based on established administrative procedures. That’s a bureaucrat. The entire professional culture is almost an attempt to invert the connotations and expecta­tions of the word—which is what underlies this class’s tension with storytelling. Conformity is draped in the dead symbols of a prior generation’s counterculture.

…

When high school students read novels, they are asked to identify the theme, or moral, of a story. This teaches them to view texts through an instrumental lens. Novelist Robert Olen Butler wrote that we treat artists like idiot savants who “really want to say abstract, theoretical, philosophical things, but somehow they can’t quite make themselves do it.” The purpose of a story becomes the process of translating it into ideas or analysis. This is instrumental reading. F. Scott Fitzgerald spent years meticulously outlining and structuring numerous rewrites of The Great Gatsby, but every year high school students reduce the book to a bumper sticker on the American dream. A story is an experience in and of itself. When you abstract a message, you lose part of that experience. Analysis is not inherently bad; it’s just an ancillary mode that should not define the reader’s disposition.

Propaganda is ubiquitous because we’ve been taught to view it as the final purpose of art. Instrumental reading also causes people to assume overly abstract or obscure works are inherently profound. When the reader’s job is to decode meaning, then the storyteller is judged by the difficulty of that process. It’s a novel about a corn beef sandwich who sings the Book of Malachi. Ah yes, a profound critique of late capitalism. An artist! Overall, instrumental reading teaches striving students to disregard stories. Cut to the chase, and give us the message. Diversity is our strength? Got it. Throw the book out. This reductionist view perhaps makes it difficult for people to see how incoherent the higher education experience has become.

…

“Decadence” sounds incorrect since the word elicits extravagant and glamorous vices, while we have Lizzo—an obese antifertility priestess for affluent women. All our decadence becomes boring, cringe-inducing, and filled with HR-approved jargon. “For my Ful­bright, I studied conflict resolution in nonmonogamous throuples.” Campus dynamics may partially explain this phenomenon. Camille Paglia has argued that many of the brightest left-wing thinkers in the 1960s fried their brains with too much LSD, and this created an opportunity for the rise of corporate academics who never participated in the ’60s but used its values to signal status. What if this dropout process repeats every generation?

…

The professional class tells a variety of genre stories about their jobs: TED Talker, “entrepreneur,” “innovator,” “doing well by doing good.” One of the most popular today is corporate feminism. This familiar story is about a young woman who lands a prestigious job in Manhattan, where she guns for the corner office while also fulfilling her trendy Sex and the City dreams. Her day-in, day-out life is blessed by the mothers and grandmothers who fought for equality—with the ghost of Susan B. Anthony lingering Mufasa-like over America’s cubicles. Yet, like other corporate genre stories, girl-boss feminism is a celebration of bureaucratic life, including its hierarchy. Isn’t that weird?

There are few positive literary representations of life in corporate America. The common story holds that bureaucratic life is soul-crushing. At its worst, this indulges in a pedestrian Romanticism where reality is measured against a daydream, and, as Irving Babbitt warned, “in comparison . . . actual life seems a hard and cramping routine.” Drudgery is constitutive of the human condition. Yet even while admitting that toil is inescapable, it is still obvious that most white-collar work today is particularly bleak and meaningless. Office life increasingly resembles a mental factory line. The podcast is just talk radio for white-collar workers, and its popularity is evidence of how mind-numbing work has become for most.

Forty years ago, Christopher Lasch wrote that “modern industry condemns people to jobs that insult their intelligence,” and today employers rub this insult in workers’ faces with a hideously infantilizing work culture that turns the office into a permanent kindergarten classroom. Blue-chip companies reward their employees with balloons, stuffed animals, and gold stars, and an exposé detailing the stringent communication rules of the luxury brand Away Luggage revealed how many start-ups are just “live, laugh, love” sweatshops. This humiliating culture dominates America’s companies because few engage in truly productive or necessary work. Professional genre fiction, such as corporate feminism, is thus often told as a way to cope with the underwhelming reality of working a job that doesn’t con­tribute anything to the world.

There is another way to tell the story of the young career woman, however. Her commute includes inspiring podcasts about Ugandan entrepreneurs, but also a subway stranger breathing an egg sandwich into her face. Her job title is “Senior Analyst—Global Trends,” but her job is just copying and pasting between spreadsheets for ten hours. Despite all the “doing well by doing good” seminars, the closest thing she knows to a community is spin class, where a hundred similar women, and one intense man in sports goggles, listen to a spaz scream Hallmark card affirmations.

…

The bureaucrat even describes the process of rising through fraud­ulence as “playing the game.” The book The Organization Man criticized professionals in the 1950s for confusing their own interests with those of their employers, imagining, for example, that moving across the country was good for them simply because they were transferred. “Playing the game” is almost like an overlay on top of this attitude. The idea is that personal ambition puts the bureaucrat in charge. Bureaucrats always feel that they are “in on the game,” and so develop a false sense of certainty about the world, which sorts them into two groups: the cynics and the neurotics. Cynics recognize the nonsense, but think it’s necessary for power. The neurotics, by con­trast, are earnest go-getters who confuse the nonsense with actual work. They begin to feel like they’re the only ones faking it and become so insecure they have to binge-watch TED Talks on “im­poster syndrome.”

These two dispositions help explain why journalists focus on things like impeachment rather than medical supply chains. One group cynically condescends to American intelligence, while neurotics shriek about the “norms of our democracy.” Both are undergirded by a false certainty about what’s possible. Professional elites vastly overestimate their own intelligence in comparison with the average American, and today there is nothing so common as being an elitist. Meanwhile, public discourse gets dumber and dumber as elitists spend all their time explaining hastily memorized Wikipedia entries to those they deem rubes.

…

The entire phenomenon of the nonconformist bureaucrat can be seen as genre inversion. Everyone today grew up with pop culture stories about evil corporations and corporate America’s soul-sucking culture, and so the “creatives” have fashioned a self-image defined against this genre. These stories have been internalized and inverted by corporate America itself, so now corporate America has mandatory fun events and mandatory displays of creativity.

In other words, past countercultures have been absorbed into corporate America’s conception of itself. David Solomon isn’t your father’s stuffy investment banker. He’s a DJ! And Goldman Sachs isn’t like the stuffy corporations you heard about growing up. They fly a transgender flag outside their headquarters, list sex-change tran­sitions as a benefit on their career site, and refuse to underwrite an IPO if the company is run by white men. This isn’t just posturing. Wokeness is a cult of power that maintains its authority by pretending it’s perpetually marching against authority. As long it does so, its sectaries can avoid acknowledging how they strengthen managerial America’s stranglehold on life by empowering administrators to en­force ever-expanding bureaucratic technicalities.

…

Moreover, it is shocking that no one in the 2020 campaign seems to have reacted to the dramatic change that happened in 2016. Good storytellers are attuned to audience sophistication, and must understand when audiences have grown past their techniques. Everyone has seen hundreds of movies, and read hundreds of books, and so we intuitively understand the shape of a good story. Once audiences can recognize a storytelling technique as a technique, it ceases to function because it draws attention to the artifice. This creates distance be­tween the intended emotion and the audience reaction. For instance, a romantic comedy follows a couple as they fall in love and come together, and so the act two low point will often see the couple breaking up over miscommunication. Audiences recognize this as a technique, and so, even though miscommunication often causes fights, it seems fake.

Similarly, today’s voters are sophisticated enough to recognize the standard political techniques, and so their reactions are no longer easily predictable. Voters intuitively recognize that candidate “de­bates” are just media events, and prewritten zingers do not help politicians when everyone recognizes them as prewritten. The literary critic Wayne Booth wrote that “the hack is, by definition, the man who asks for responses he cannot himself respect,” and our politicians are always asking us to buy into nonsense that they couldn’t possibly believe. Inane political tropes operate just like inane business jargon and continue because everyone thinks they’re on the inside, and this blinds them to obvious developments in how audiences of voters relate to political tropes. Trump often plays in this neglected space.

The artistic development of the sitcom can be seen as the process of incorporating its own artifice into the story. There is a direct creative lineage from The Dick Van Dyke Show, a sitcom about television comedy writers, to The Office, a show about office workers being filmed for television. Similarly, Trump often succeeds because he incorporates the artifice of political tropes. When Trump points out that the debate audiences are all donors, or that Nancy Pelosi doesn’t actually pray for him, he’s just pointing out what everyone already knows. This makes it difficult for other politicians to “play the game,” because their standard tropes reinforce Trump’s message. If the debates are just media spectacle events for donors, then ap­plause lines work against you. It’s similar to breaking the fourth wall, while the rest of the cast nervously tries to continue with their lines. Trump’s success is evidence that the television era of political theater is ending, because its storytelling formats are dead.

In fact, the (often legitimate) criticism that Trump does not act “presidential” is the same as saying that he’s not acting professional—that he is ignoring the rules of bureaucratic advancement. Could you imagine Trump’s year-end review? “In 2020, we invite Donald to stop sending Outlook reminders that just say ‘get schlonged.’” Trump’s antics are indicative of his different route to power. Forget everything else about him: how would you act if you never had a job outside a company with your name on the building? The world of the professional managerial class doesn’t contain many characters, and so they associate eccentricity with bohemianism or ineptitude. But it’s also reliably found somewhere else.

Small business owners are often loons, wackos, and general nut­jobs. Unlike the professional class, their personalities vary because their job isn’t dependent on how others view them. Even when they’re wealthy or successful, they often don’t act “professional.” It requires tremendous grit and courage to own a business. They are perhaps the only people today who embody what Pericles meant when he said that the “secret to freedom is courage.” In the wake of coronavirus, small businesses owners stoically shuttered their stores and faced financial ruin, while politicians with camera-ready personas and ratlike souls tried to increase seasonal worker visas.

…

Ever since Star Wars, screenwriters have used Joseph Campbell’s monomyth to measure a successful story, and an essential act one feature is the refusal of adventure. For a moment, the universe opens up and shows the hero an unknown world of possibility, but the hero backs away. For four years, our nation has refused adventure, yet fate cannot be ignored. The coronavirus forces our nation to confront adventure. With eerie precision, this global plague tore down the false stories that veiled our true situation. The experts are incompetent. The institutions told us we were racist for caring about the virus, and then called for arresting paddleboarders in the middle of the ocean. Our business regulations make it difficult to create face masks in a crisis, while rewarding those who outsource the manufacturing of lifesaving drugs to our rival. The new civic religion of wokeness is a dangerous antihuman cult that distorts priorities. Even our Hollywood stars turn out to be ugly without makeup.

[radrush]

give YOUR nge thoughts

this is gonna be super filled with spoilers in case any of my followers still haven’t seen this show for some reason

haven’t heard of it | absolutely never watching | might watch | currently watching | dropped | hated it | meh | a positive okay | liked it | liked it a lot! | loved it | a favorite probably my favorite show ever

don’t watch period | drop if not interested within 2-3 episodes | give it a go, could be your thing obviously it’s very intense and the lore is very confusing but it’s so worth what it demands | 5 star recommendation I've watched nge numerous times but it’s just one of those shows that’s filled with such detail and rich characterization that I seemingly find new things to consider every time I watch it

fav characters: Asuka is the neurotic queen and is probably the most entertaining character to witness on screen because of it but it also makes her the series’ most tragic character in my opinion. While she ultimately faces the same existential conundrums as Shinji (a sense of loneliness and isolation caused by lack of familial support, an anxiety created by a lack of assurance in one’s own purpose that contributes to low self-worth, and a fundamental difficulty with relating to others honestly because of these factors), unlike Shinji she has a variety of coping mechanisms to deal with these issues which give her the appearance of functionality but which are ultimately unsustainable and don’t allow her to be honest with herself about her real emotions, precisely because they work to repress the emotions that are too painful for her to feel fully. In an attempt to overcome feelings of worthlessness caused by her family’s rejection of her, she throws herself fully into the role of Eva pilot, turning her abilities as a pilot into a structural pillar of her self-worth which comes crashing down when Shinji proves himself to be as capable as pilot as her. She also acts rudely and boisterously in an attempt to avoid rejection, pushing people away from her before they have a chance to get close enough to understand who she really is and then reject her afterwards. This is also why Asuka is NOT a tsundere as so many people claim. Her coldness and “high and mighty” attitude are not borne out of an embarrassment with her “true feelings” of friendship or romance towards Shinji, but are rather a defense mechanism that she uses to protect herself from the pain of intimacy. Her open displays of disgust towards him are not an act which she uses to hide a secretly harbored positive view of him, she actually just hates his guts. She’s all tsun and no dere.

Shinji is a character whose experiences highly resonated with me when I first watched the series as a teenager but I feel like even if i didn’t heavily relate to his emotional struggles I would still end up talking about him here because ultimately the series is focused on his struggle to define himself on his own terms and through his relationships with others. Because Shinji lacks the dysfunctional coping mechanisms that Asuka has come to adopt, and instead has a tendency to turn inward and engage in torturous processes of reflective self-deprecation when he feels emotionally challenged it makes sense that he would be the focus of the show’s thesis on relational psychology. As a sensitive boy with a great deal of familial trauma, Shinji is intimately familiar with the emotional havoc that humans can wreak on each other in their relationships. Not wanting to have to deal with the burden of this pain any longer, he is constantly running away from his commitments because he views his relationships with others not as potential sites for growth and self-fulfillment but as avenues which only lead towards greater feelings of pain and misery. You can hardly blame him for feeling this way because of what he experiences before and during the series, but ultimately he must learn as a part of his growth process that while his relationships with others contain the possibility of greater pain, to live a fulfilling life it is imperative to look past the possibility for pain in order to find the hope for meaning and love that makes life worth living. Shinji’s story teaches us that as long as we remain true to ourselves and are cognizant of our own emotional needs in our relationships, there is no need to live in fear of the pain that others might deliver upon us out of their own wounding.

In many ways Misato behaves like a grown-up, more apparently functional version of Shinji. While she is more readily able to form emotional bonds with others, these bonds are often entirely surface-level, as evidenced by her preoccupation with appearances (wearing flashy clothes, driving an expensive sports car, introducing herself to Shinji in the way she does). The dichotomy between her clean, confident exterior persona and the slobbish, lazy way she lives when removed from the gaze of others reinforces the idea that while she behaves a certain way in order to be comfortable in social situations, she is inwardly insecure and deeply troubled by how her attempts at meaningful relationships have turned out, having never been able to reconcile her relationship with her father before his death and having run away from her relationship with Kaji when his presence caused those unreconciled emotions to rise to the forefront of her psyche. I also love how the Jet Alone episode frames her lifestyle in two drastically different ways. At the beginning of the episode we see her guzzling beer and eating instant ramen for breakfast in her gross apartment and react to those behaviors according to the humorous and quirky surface-level reading of them that the show gives us, but during the episode itself we see her forced to deal with the stupidity and recklessness of others in her profession as well as the unique challenges she faces in those situations because of her femininity, on top of seeing her take responsibility during a life-threatening situation when no one else will, causing her to undergo a near-death experience. After all of this, the narrative comes full circle and we see her again the next morning in her gross apartment, chugging an entire can of Yebisu and realize how much her lax lifestyle choices are really shaped by the kind of emotional stress she is forced to deal with on a daily basis and a need to have a space where she can be unconcerned with those stresses.            

I like how although Ritsuko treats Misato as her equal in their personal relationship and they’re both at the same professional level, being heads of their respective branches of NERV, from the very first episode it’s clear that Ritsuko’s knowledge of the Evas and and the true purposes of NERV far surpasses Misato’s. As Misato begins to understand the amount of classified information that Ritsuko has access to and refuses to share with her their relationship effectively deteriorates until Ristuko can no longer shoulder the burden of her knowledge on top of her increasingly strained relationships with both Misato and Gendo and she essentially self-destructs.

Kaji is kind of a sexist jerk but he’s also the only character in the text who can operate as a positive male role model for Shinji because of how selfish Gendo is and it’s ultimately his advice to Shinji throughout the series but especially in episode 19 and the run up to it that spurs Shinji to take action instead of continuing to be a bystander while Rei and Asuka fight for their lives. I also like him because he’s a truth seeker. He does the bidding of Selee and Gendo because doing so allows him to get closer to the truth behind Selee, NERV, the Evas, the angels, and human instrumentality, and he eventually pays the ultimate price for his pursuit of knowledge.

least fav characters: I guess I'm supposed to say Gendo because he’s such a dick but even if he’s a shitelord he’s still a well developed character–consistently narcissistic and self-serving, only treating others as means to ends, not at all capable of the emotional vulnerability required to actually really love, although maybe he possessed it at one point in the past. He’s evil as fuck but ultimately a good character. I love how the first time we see him smile is when he gives the order to launch unit-01 it’s so good and makes me hate him so much.

Ritusko’s mom, Naoko, is like probably the only character in the show that i think is written poorly like it’s honestly just stupid to me that she would be so in love with Gendo and so heartbroken over him that she would literally kill Rei I and then herself over being taunted about the fact that Gendo didn’t really love her and was just using her but i guess bitches just be crazy amirite fellow redditors. Literally what is so great about Gendo that all these women keep getting involved with him?? Like for the credit you can give Anno for writing really interesting women in this series, he still is a bit of a sexist and it’s not just with Naoko.

fav relationship: Asuka and Shinji obviously have one of the most interesting dynamics in the show from the first time they meet. We know they’re not bound to get along well since Shinji is pretty reserved and not very confident and Asuka is incredibly boisterous and all too full of herself and in fact resents Shinji for his lack of self-worth and motivation. All of this is compounded by the fact that the source of Asuka’s massive self-esteem is her ability to pilot the Eva, a task at which she continually finds herself upstaged by Shinji, who at the same time can’t seem to decide whether piloting the Eva is something he even wants to continue doing. In episode eight she’s amazed when Kaji tells her that Shinji was able to sync with Unit-01 without ever having been inside it before but when Kaji brings it up again when all of them are together and openly praises Shinji’s “natural” capabilities as a pilot, Asuka is embarrassed and takes his praise of Shinji as an injury to her self esteem because being the greatest Eva pilot is so central to her self-identity. She vents this embarrassment by taking it out on Shinji, who meanwhile can’t help the fact that he has a natural ability to do this scary and dangerous thing he’s barely done before and doesn’t at all know what to do with Asuka’s frustration towards him. Rei operates as a kind of foil to this dynamic (is it still a foil if its three ways instead of two?) because she possesses very little of her own will in the early part of the series and merely pilots the Eva because it’s her designated purpose in life, what she was literally born to do. As all three of them grow through the relationships that they navigate with each other and the adults in their lives, these motivations, self-definitions, and reasons for being shift and evolve, are built up and broken down, and ultimately remain in flux because that’s just how that shit is

Shinji and Kaworu I obviously hold very close to my big gay heart because of how touching it is to see Shinji love and be loved by another boy but that being said their relationship is very intentionally one-dimensional because of the fact that Kaworu is less of a human character and more of a character representation of the abstract concepts of hope and love themselves. From Kaworu’s perspective too, his relationship with Shinji is just as much about knowing and loving Shinji as it is about knowing and loving humanity as a whole. Because Kaworu isn’t human, he doesn’t have any emotional needs or trauma which might preclude him from loving Shinji or make it difficult for Shinji to love him, which is why he appears to Shinji when he does: when Shinji feels most abandoned by those he feels he has tried and failed to form emotional bonds with and is in most dire need of someone who will attempt to understand him as he is trying to understand himself. In loving Shinji in the selfless, needless, and unconditional way he does, he gives Shinji hope that real love and real human connection are things that exist out there in the world for him to experience, even if his relationship with Shinji is only an idealized version of that. When Shinji is forced to kill Kaworu in order to save himself and humanity, this hope is momentarily shattered and by the next episode we realize that this has caused Shinji to lose his will to live, although ultimately Kaworu’s death is necessary not just for plot reasons but also because Shinji must eventually come to realize that while he can be in love and find meaning in his relationships with others, he can’t expect any other person to love him so selflessly the way Kaworu did because that’s simply not a reasonable thing to ask of another human being with their own emotional needs and trauma and baggage. In addition to his qualities of magnanimous selflessness, as a divine being in a mortal vessel who ultimately chooses to sacrifice himself to ensure the fate of humanity, Kaworu also operates as a sort of messiah figure within the narrative of the series. The fact that his love for Shinji is representative of his love for all humankind and that Shinji’s love for him is a reflection of the timeless and ephemeral concept of love itself, and the fact that Shinji must also bear the guilt of killing one he loved for the greater good of saving the souls of humanity also puts them squarely in the midst of a Judas/Jesus dichotomy.      

fav moment: the direction in this show continues to amaze me and  just the choices in the first two episodes alone are so fuckin awesome like I love how episode one ends on a cliffhanger and episode two begins with shinji recovering from the battle, completely skipping over the action and having us only deal with its fallout before finally getting to see how it unfolded when shinji is alone at night and has a moment to reflect on what he witnessed. also the shot during the battle flashback when the armor falls off of unit-01′s face and shinji looks out from the entry plug and sees the true reflection of the eva in the building next to him knocks me on my ass every single time.

in episode one when shinji gives misato the letter that his father sent him and its creased as shit and the whole thing is redacted aside from the words “shinji, come”

whenever gendo’s glasses reflect the massive screens in the command center

rei smiling after she and shinji defeat ramiel and he opens the entry plug hatch

“You’re just as much a kid as I am”

When Ritusko hacks into a human brain and honestly just the whole Magi design has such a killer aesthetic i don’t even know what to call it its like cyberbiomechanicalpunk but the cyber tech isn’t futuristic it’s like 1995 technology complete with ribbon cables on the keyboards

“You apologize to people as a reflex, so that you won’t have to confront them” “I’m sorry”

Literally everything about episodes 19-24

THE ELEVATOR SCENE

“I loved him too”

When Asuka synchronizes with unit-02 at the bottom of the lake in EoE and the whole fight with the eva series

Why not just say all of EoE cause holy shit

headcanons/theories: As far as the lore itself is concerned, it feels like there aren’t that many mysteries that haven’t been explained either through actual dialog in the show or peeks into what was left on the cutting room floor, it can just be hard for first time viewers to wrap their heads around it all because of the convoluted way it's presented in the show and how everything has dramatic biblical names (which do have meaning for the record, anyone who says all the religious symbolism in eva is fake deep is not paying close enough attention. the constant use of the latin and greek crosses in explosions and in various design elements like lilith’s crucifix are obviously not always rife with distinctly religious meaning but I already talked about how Kaworu is literally a messiah figure so give me some credit here). When I do see shit on youtube like “the 26 timelines of evangelion explained” though it just makes me roll my eyes. Also I think that the lore is really cool and well developed in general but a lot of it is somewhat tangential to the real dramatic meat of the series which consists of the development of the characters and their relations to one another so it is kinda lame to me that the popular view of the series for so long was focused more on the mysteries of the super weird convoluted world building than on the exploration of humanity that makes the show what it is although that might have changed now that more people have dipped their toes in the series with the netflix localization

one thing I’ve been thinking about recently is rei’s ghostly appearance to shinji at the beginning of episode one which I believe to be connected to the ghostly appearances she makes in EoE to the dead and soon-to-be sublimated (or i guess more accurately, liquified) NERV staff after she merges with lilith and ultimately to her final appearance to shinji floating above the lcl sea at the end of the film. All of these appearances are made by the rei that merged with lilith during EoE, even the one in episode one. This is possible because after merging with lilith, rei becomes a being with quantum characteristics, able to exist everywhere on earth at once to collect the souls of all humanity and gather them together. Since it’s also heavily implied that rei is a vessel for the soul of lilith in the same way that kaworu is a vessel for the soul of adam, this is likely lilith’s “true form,” having finally reunited her body with her soul. To those still alive for this process, she appears to them as a manifestation of their heart’s desire, bestowing upon each soul a momentary embrace of hope that will last a lifetime. This is what Gendo understood about instrumentality from the beginning and was always his plan to be able to see Yui again. I think rei’s final gift is also sort of a riff on modern scientific explanations for the experience of heaven, how we now understand that the chemicals that are released in your brain when you die can give you a euphoric experience that some might be inclined to interpret as heaven-like. But anyway, since rei no longer has to obey the laws of time and space, and she makes it a point to make a final appearance to shinji in her quantum form at the end of the film it feels right that she should choose to go back and make a first appearance to shinji to signify the beginning of the end as it were. After all, “the beginning and the end are found in the same place.” Anno himself has told us that “eva is a story that repeats” with reference to the pervasive visual and verbal self-references that are prevalent throughout the series and I think this is perhaps one of the most shining examples of that repetition.

Related: Also a fan of the theory that Gendo’s last words to Ritsuko were “I need you.”

unpopular opinion: Episodes 25 and 26 provide the necessary(?) conclusion to the show’s thesis on human relationships which make them more or less key to understanding how those ideas are present in the work as a whole but the last time I re-watched the series I skipped them and went right to EoE because that’s the better dramatic experience and also I think EoE works to wrap up the ideas from the show, albeit not as cleanly and moralistically.

this is also probably a popular opinion but the rebuild movies fucking suck. they completely gut like half the thematic content from the original series and they even feel bland visually at times like everything is so glossy and shiny i like the saturation, contrast, and thicker line art of the original series way more. literally there’s only one good part per movie in the first one it’s ramiel in the second one its the aquarium scene in the third one its piano kaworu and that’s it. I can hope the fourth movie isn’t completely gutless but i can also set myself up for disappointment but if evangelion teaches anything it’s that we can’t let the fear of disappointment or sadness bar us from seeking the joys and loves that life has to offer us so i’ll see y’all again in 2020 i guess

random thoughts:

[theorynexus]

59:  The Continuing Adventures of Dave and Roxy, as well as the concerns assailing them.

Yay, the Charleston!   (Boo the fact that if Jake’s targeted by a sniper, Dave can’t so easily react by slowing down time and tackling him out of the way, or whatever!)

***sagenods, despite never having had anything like his own experience, myself***

It’s good to see that in quantifiable terms, there. Also good to see Dave’s awkward insecurity on the matter never faded away during those recognition stages. It makes it at least 1000% funnier. Ask Colonel Sassacre.

HA!   Also:  I love to see that paranoia in action, ramping up the comedy value even more and legitimizing my previous statement that this was funny, which some people would consider incredibly rude, probably! It is also interesting to think of the fact that the 30-70% enumeration suggests he goes back and forth as far as which of the two sexes he is apparently considering legitimate “targets” of his interest (troll biology/sexuality didn’t cease to be probably quite different from human reproductive systems, or anything, and Calliope/cherubs in general may very well be hermaphroditic either in a simultaneous or sequential manner, so I obviously have to recognize them here).  Obviously, there’s also the possibility he’s just not thinking of such other sexes due to is human upbringing on earth, were intersex members of society are relatively rare, and thus the idea that there are only two sexes tends to widely be embraced by (most, but increasingly not all) members of the Western society/civilization he dwelt in. I don’t blame him for his upbringing: everyone brings their own baggage into their later life.

Yeah... the Stralondes bring some interesting genetic factors to the table. I am not sure how much that actually directly influences things. Part of the issue is probably Bro’s impact on his life, which exposed Dave to a great deal of sexual material and almost undeniably stunted his growth in weird ways.   (Note: I do not suggest that his apparent self-labeled bisexuality is a result of his growth being stunted, regardless of the fact that one’s early life does indeed have an impact on one’s later identity; rather, I am merely suggesting that Bro’s influences, while dramatically increasing his capacity for survival in SBURB, and thus technically being instrumental to everything that followed, gave him psychological issues which everyone must admit made him struggle quite a bit over the years.   It may be likely that he would have developed the same sexual dispositions regardless of the scars Bro inflicted on him [both emotional and physical], but we can never truly know, for Time is weird: issues are entangled.)

Dirk, you named yourself after a Platonic work!   How can you not understand how great and important relationships which reach to the point of bonds between souls and transcend the physicality of sexual relations can be?!?!?!

GAH, I just... sometimes, you really can’t expect reasonable thoughts from this guy, can you?

On the other hand, let’s just all take a moment to celebrate the irony of “... even my harshest critics would never accuse me of such cruelty” from Dirk Strider. Best. Fricking. bundle of words that ever emerged from his mouth, probably.

I would argue that even without the opposition, displays of gender are by no means culturally vestigial in the same way that fashion generally is not. It’s a direct reflection of the soul, projected outward.  (Like a person’s hat, or shirt. [Dirk having a hat on his shirt was not just a reflection of the fact that he was “kid bro,” or whatever, but was actually an early suggestion of his Heart aspect.]) Obviously, this is limited by the resources, imagination, and environment/occupation of the individual involved, and there are in fact numerous things which are more important for a person in reality, but that doesn’t mean that it’s something to be dismissed like that altogether.

***cough projected future dramatic irony, cough***   Also ironic insofar as I am not 100% sure he actually cares about Roxy’s identity/gender issues so much as he might find them annoying and boring to be dragged through. Somewhat ironic+hilarious for a fellow Heart player to find this kind of thing unbearable, if so.   Maybe it’s just the Prince in him.

It is good of you to be concerned for her well-being, I suppose. Considering it is your own identity that is at issue, here, I would suggest you hold a little more weight, but regardless, this is good.  As for the matter of your transformation and dissatisfaction with your hair as it is now:  I suppose Dave’s step by step relation of his own journey as made quite an impression on you.   Hopefully, you do not feel jealous, but rather, patiently continue to contemplate your own path and, as Alt!Calliope suggests you might think, head toward a more potent and firm+real understanding of your own identity+self.  It is okay to be uncertain and questioning, for now.  I’m sure the shakiness of first steps will give way to confidence naturally in due time. These things are not easy, obviously, but reaching out to someone who’s had similar struggles is a good choice: it will likely make things easier, especially since he’s someone you can dependably put your trust in, despite his flippant, awkward attitude in general. (Also: on a more abstract note, it is interesting to see Roxy ascribing meaninglessness to her hair choice, and expressing lack of understanding on her identity issues. Very tight writing, on Hussie’s part, making the kids reflect their aspects and struggle so keenly with things relating to them.)

Given the fact that Cherubs naturally have very violent sex and spend eons before their first (and only?) sexual encounter, that’s not really much of an insult, if “virgin” should ever be considered one to begin with.  Pompous is definitely more accurate and applicable, though. Also:  Hooray, actually saying things, and getting the size of his text back again! (I am not actually really cheering for Dirk so much as I am finding it interesting for the sake of the ongoing conflict acting as an undercurrent to the storytelling, right now. It’s truly fascinating to see two narrators fighting amongst themselves like this! )

Everything about this (especially Alt!Calliope’s confidence and her “’human tanties’” line) is incredibly amusing. I love it.

Lil Cal might beg to differ. But that is a complicated tangent which does not deal with this version of Dirk directly.     (Preemptive Edit:  Also funny because of the fact that Doc Scratch is literally a walking, talking puppet with a Dirk inside.)

Yes, justifying toying with your friends because you know them and have investment in their lives therefore is indeed very logical, reasonable, and highly rational of you to do. Thank you for this brilliant insight into the human condition.

Oh, so this is now a reference to the Charles Whitman shootings at the University of Texas?   That is a very interesting and curious choice to portray Dirk’s derangement with, especially considering the earlier statement about Dirk knowing solitude in a similar manner to Alt!Calliope’s own knowledge of it.    (Almost appropriate, considering she basically destroyed the fabric of Paradox Space to kill her brother in cold blood [the way revenge and Eternity are best served], but I guess this is a digression~)

I wonder if he really intends this, or if it is in fact a ruse in order to time things perfectly such that he can in fact shoot Alt!Calliope in Jade’s body without her initially expecting it. Particularly since, if I am thinking of the correct gun, it actually shoots portals that allow for ridiculously long range shots that would normally be impossible.

Wow, that is cold, Alt!Calliope, throwing Rose under the bus like that.   Also:  I suddenly have “ Do the impossible, see the invisible. Row! Row! Fight the power! Touch the untouchable, break the unbreakable. Row! Row! Fight the power!” playing in my head, as if this were a flash animation. That thought process really puts things in perspective, if this is supposed to be  (at least to him) a tale of Dirk fighting against causality and the will of Paradox Space to make things become irrelevant and to fade out of perception.

Guaranteed to blow [somebody’s] mind.

She warned you about---

History repeating itself.

Such anime. Such wonders.  Man, this is really fricking interesting, seeing Dirk and Calliope actually going at it on a twinned physical and metaphysical battlefield!   It’s like we’re finally being shown a cherub predomination contest in action!    (I wonder if Alt!Calliope will eventually fall into caliginous attraction for him. This would be quite amusing.)

Wow, that was probably a bad move taken at an inopportune time. The question is: Is she forced to make that by laws of narrative relevance, or is it a purposeful decision on her part to spitefully turn away from him, despite the likely imminent consequences. On the other hand: This could be a very powerful and shrewd tactic on her part to recruit Dave to serve her purposes. Given his presence at the event, he could either intercept Dirk (I almost called him Bro-- gah!) or save Jake, if led properly. If she is particularly spiteful, she could use him as a sacrificial piece and have him take the bullet instead of Jake, which could be very, very painful to Dirk.

Huh. Despite Terezi’s comment about onions not making people cry, Trolls are inherently averse to them in the same way that dogs are to chocolate, huh? Also, people are Ogres, and Homestuck is Shrek. This is definitely the unadulterated truth. Additionally:   Pffft.  It seems that the idea that the Green Sun Black Hole’s presence making Roxy’s own void less effective for everyone might be true!   Or, alternatively, Dave just knows enough to make the guess. Or both, possibly.

Pffft. She’s oblivious to her own inscrutability!   Perfect. XD That said: YES!   HECK YES!  HECK FRICKING YES, ROXY SHADES!!!   :’D (Oh, and shades are a symbol of the Void [not just because they keep out light, but because they block the eyes, which are symbolic of Light and Heart, but more importantly for this, Light], the same way that alcohol and oceans are. Somewhat surprising that she didn’t have a pair of them already, at this point, if we’re being totally honest.)

Yeah, if it was not obvious that the method of Alt!Calliope informing Dave of this threat would be subtle like that rather than a direct statement/command, then I don’t know what is obvious to you guys.

This, psychologically+sociologically, makes a great deal of sense, considering humans seem to have a natural propensity for feeling distasteful towards some sort of “other,” regardless of what it is. Thus, there’s a double-edged sword involved, quite logically, and somewhat saddeningly, to the otherwise open and accepting mentality that humans seem to have socially adopted in their new environment.       At the same time, the way that this is delivered is horribly hilarious (tragi-comically so), and I’m barely sorry that I find that to be the case.

Yes. Yes, it was cute, indeed. Sad to see it go, somewhat.  But his question is incredibly silly and very awkward, just as is natural for Dave. Thus, I find it acceptable and in-character, not insulting or narrow-minded, as some might.

***laughs alongside them, for indeed, this has all become quite funny, despite the fact that it is a “distaction [sic.]” from the seriousness at hand***

FRICKING...  DANGIT, ALT!CALLIOPE, IF THIS TURNS OUT THE WAY YOUR WORDING IMPLIES IT WILL, I SWEAR...!!!

Okay, so you seem to have just used it as a convenient threat, and worded things such that he had time that he didn’t necessarily clearly have in order to basically take two actions instead of one.   (His jump to save Karkat could have cost Jake his life, or Dave his.)

As I was going to say, but was prevented from doing due to a belief that it would be better to include these lines too:   His statement about her being right about many things clearly, while initially making it seem that he was indeed going to take the shot, heroic death chance or no, almost certainly ensures that this is actually a subterfuge on his part (similar to but a reversal of Caliborn replacing the hats on the king and queen: in this case, he is switching his OPPONENT’s chess pieces’ appearances, making her think he’s targeting one, but is actually going for the other, more crucial target [as should be obvious, given the thematic similarities between Dirk and Caliborn, and the tendency of events in Paradox Space to rhyme with one another]).

Check.

Indeed, indeed. Alt!Calliope senses a similar pattern, quite sensibly, which is fitting with her role as Muse, and her understanding of it. Unfortunately, while she picked up correctly one one such similarity/resonance, it seems she’s missed some others.   I do appreciate this comment on immortality, though. I had not actually thought about that, and this makes his potential actions somewhat more benign. (Not that it would render his later actions as such.)

I really fricking appreciate the “no guts no glory” comment coming right before this extremely gutsy reveal on his part. By saying as such, he could easily be ruining his plan, but he just goes ahead and says it anyway. XD BEAUTIFUL writing, right there.

It was less intelligent of him to narrate his own action so long-windedly, but completely in-character.  It gave her the time required to interject like that. That said: I bet he’s going to fire via voice command or something like that.

And THAT, my friends, is why you don’t underestimate your opponents, and you should not announce your belief in the futility of their actions to their faces like a stereotypical villain would!   Also:  WILLPOWER!!!

...   Yet this does not end the page, and despite the fact that it would be a magnificent point to end the post, I will not do so.  I will first say that I was almost certain Dirk was actually in fact successfully hiding something from her when he was messing with his equipment/tech there [and great foresight on his part, to think this far ahead, by the way], and secondly, shall end the post with the actual page’s ending:

I appreciate his continued devotion to realism in sound effects and whatnot.

To be fair, he could be using that term technically and literally, here, but I also very much do believe that he was not, which is unfortunate. v.v Thus, Alt!Calliope’s question is quite valid.   Though my guess is that Dirk’s response will be something along the lines of, “She chose death and you over life with me.”  This might make her a “bitch” in the same way that men in prison who are raped are reported to be one, rather than the typical insulting-particularly-to-women version of the phrase. Regardless, this is uncalled for. ~~~ It is nice to see the fact that Alt!Calliope’s text is getting smaller, now, by the way.

I don’t appreciate this mockery/show boating. It’s quite abrasive and distasteful. I do see it as being rather in-line with what I’d imagine his character would do, given the frustrating situation he was previously put in, though. Also:  This very much resembles what happened when he was first suppressed. There is much hilarity to be found in that, all things considered. Alt!Calliope was definitely a bit more benign in some ways and objective (most of the time), but that doesn’t mean that there weren’t some major similarities between narrators. Additionally:   I do quite love this example of narrative vs. physical action.  I only remember Caliborn/LE and Hussie ever engaging in that sort of contest before.  Well... you could say that there were a few examples of it with the Exiles and Kids/Trolls (like what Bec did to PM’s station, or Sollux’s defense against CD), but they don’t really feel like they were quiiitee substantive enough to count. Regardless!: Very refreshing and interesting, this style of conflict is! Thanks, AH! ... Buuuut there is just a liiitttle tiny bit left over on the page to comment on, so I’ll get to that.  (Oh, also, I totally imagine Jade falling asleep in the classic manner she used to before entering the session, just slumping over with her hands splayed out under her~)

Okaaayyy... if you say so. The fact that tranquilizers can be lethal in doses that are too high does not jive well with your uncertainty, though.   Oh, and also:  WHAAAAT?!  You’re going to leave?!  This is a completely unexpected---   Okay, I can’t and won’t keep up that charade when admittedly the couple of pages I read of Homestuck^2 before freaking out and stopping showed a weird-shaped ship that looked vaguely like a flying fish.    I had tried to forget about that, but the memory suddenly rushed back to me as I read that bit of narration.

Ehh?   Is this suggesting that the Candy epilogue is chiefly narrated by Alt!Calliope?   I mean... it would sortof work out logically, given her very pro-Free Will stance, and the association of Calliope with preferring Candy as food... .

Hmm. This further supports that notion. Iiiif that is the case, Dirk stands as the proxy for LE/Caliborn even moreso than otherwise was clearly the case.  In retrospect, this makes it pretty gosh darned funny that his head got chopped off along with Jack English and Jack Noir (who, holding English’s “lordly sceptre,” and holding reign over the Felt, was OBVIOUSLY an English stand-in, as well  [I still giggle at his sudden use of it like a horse {hitcher} in the middle of the fight]).       Very, veeeeerrry interesting. ~~~ I wonder if Dirk was testing the idea of interjecting himself back into the narrative when he said, “Jake’s ass is mine,” twice, earlier. Oh, and credit to Forgotten Homestuck Facts for the pic compilation, earlier. 

[redwoodrroad]

@commander-daine​ tagged me in making a playlist for my gw2 characters! I’ve never done one of these before, so I was excited to try it. Oh I’m also going to tag @morgueanite​ and @doodle-rat​ in case you’re interested!

I’ve talked a lot about my guys on here, so I’ll just say that their relationship started very early in the story--they met during the events of the personal story and started dating soon after the events at Claw Island--the first five songs in my playlist are actually a pretty basic summation of their timeline in the personal story, so I’ll go through them under the cut with lyrics included.

The final three songs are on one hand very representational of Arkus and Eridunis in terms of their lyrics and on the other hand very... aesthetically accurate to them I guess. I’ll also go through them! You can find my playlist here: https://open.spotify.com/playlist/64AX7EQTosobU4QzU7pp2B

Please enjoy!

Eldorado Overture --ELO

Imagine this as the opening to the story, and it’s actually entirely Arkus-centric; as if he were awakening from his Dream--in which he actually had seen Eridunis in cryptically symbolic representation.

The Dreamer, the unwoken fool, In Dreams, no pain will kiss the brow. The love of ages fills the head. The days that linger there in prey of emptiness, Of burned out Dreams. The minutes calling through the years. The universal dreamer rises up above his earthly burden. Journey to the dead of night. High on a hill in Eldorado.

Can’t Get It Out of My Head --ELO

Arkus’s flagship song; it represents his simultaneous drive for knowledge and his internalized issues, whether with his professional life or for his purpose.

Breakdown on the shoreline Can't move, it's an ebb tide Morning, don't get here tonight Searching for her silver light

Laredo Tornado --ELO

Eridunis’s flagship song; it represents his excitement for the world while also highlighting the eventual recognition on his part that his life choices as a Commander--his actions and simply being at war itself--are also costing lives.

What can you do, When your dream world is gone, And your friends and lovers too.

Eldorado --ELO

Arkus’s and Eridunis’s combined flagship song, representing their comfort for each other in dark times as well as the acknowledgement that they will--for eternity or not--have each other.

Sitting here on top of everywhere, What do I care, Days never end. I know the voyage's end will soon be here, No eternal life is here for me, And now I found the key, To the eternal Dream.

Eldorado Finale --ELO

Not really a full song on its own, but it wraps up the album and serves to represent the finale of the personal story and serves to once and for all bring Arkus and Eridunis together... while also heavily hinting, at the end, at the dangers to come.

The dreamer, the unwoken fool, High on a hill in Eldorado 

Astra et Luna --Enya

This one mostly is for the romance ambiance; the song is entirely in Latin (which makes me weak always, I had to include it), but I have some of the English lyrics for you here:

The night sky; In the darkness The stars and the stars and the moon No clouds, A clear sky The great song of the wind

Ode To My Next Life --Kishi Bashi

I think this serves as both one for ambiance and one for Arkus and Eridunis acknowledging their positions and how their choices impact so many lives.

Sewn together in a simple life Denting the can with a plan I feel like I could never survive Oh, my second life wife Mad in the energy of a world on fire With our dreams 

Another Heart Breaks --ELO

This one is all instrumental! It’s also from my favorite album, Time (Eldorado as highlighted above being my other favorite). There are some words repeating in the background at times, but the content album itself is represented by this song because it’s about a man who has been sent to a completely new world (the future, for context, but the important piece is that it’s a new world for the protagonist) and it’s about his struggle to cope and to eventually return to his world. In the new world, he’s lost everything, all his friends and loved ones are gone, and he doesn’t think he can ever go back, but in the end, it’s up to the listener to decide whether he does find his way back home or if he simply accepts his fate--such is the narrative mutability in returning to Central Tyria after the events of Heart of Thorns, a chapter by which this album is also heavily inspired. I also think it’s a good one to wrap up the playlist.

Thank you for listening! And for reading!! I really hope you enjoyed!