#and they didn’t have to use secondary sources (we had to use 4)

[andersnordic]

There are a lot of common misconceptions about Breivik- many people don’t look into him past video essays or a few articles, which tend to not be the best sources.

One of the most prevalent ones I’ve seen comes from his mother. A lot of the time I see people say that he was a violent child, that he was born with issues- this isn’t true, and it’s actually quite the opposite.

The abuse that Breivik received from his mother was so severe that it’s considered a tragedy that nothing was able to be done to help his situation. It’s believed that if he didn’t face said abuse, he most likely wouldn’t have carried out his actions in Oslo and Utøya.

His issues stemmed from what’s called the “three-generations hypothesis”. It’s essentially what we call generational trauma, but with more layers. If someone were to have issues with their parents and then go on to have children of their own, they might fail to develop a healthy relationship with their children, which would be extremely detrimental for these children specifically.

Breivik is a victim of being the “third-generation”.

I will not be touching on Breivik’s mother’s childhood in this post, nor will I focus on his relationship with his dad.

It might be crucial to note that Breivik was born in London. Shortly after his mother and father broke up, his mother, him, and his sister moved back to Norway and lived in his father’s apartment.

Breiviks mother would often claim outlandish things about him from a young age. When she was pregnant, she believed he was evil. When he (as a baby in her womb) would kick her, she believed it was on purpose. In a psychological evaluation from the 1980s, she titled him as “fundamentally nasty…and determined to destroy her.”

Breivik’s mother only breastfed him for a short amount of time before giving up, claiming he was “sucking the life force out of her.”

At night, his mother would often be absent working night shifts as a nurse, leading Breivik’s sister to take on the role of a secondary mother at the age of six.

1981, Breivik’s mother would apply for financial aid, as well as a weekend home for then 2 year old Breivik to attend. She described him as too demanding, and exhausting. She titled her children as “hell in hell.” His mother claimed that he could not go unattended without creating a disaster for her to fix. When she would reprimand him with a spanking, and he would claim over and over “it doesn’t hurt, it doesn’t hurt.”

She also found him extremely clingy, saying he had to be physically peeled off of her. He would sleep in her bed at night and refuse to leave. All of this information would be used to successfully send Breivik off to a respite home.

He ended up with a young couple, but it didn’t last long. Breivik’s mother would interrupt this- the last time she dropped him off, she requested that Breivik should be allowed to touch the man’s genitals due to the fact that “he only saw girls pee.” The police were called after this interaction.

1983, the family was admitted to a child and adolescent psychiatrist due to his mother claiming he was “hyperactive”. She described him as “remarkably active, restless…and full of unexpected whims.” When punished for this, he would become unbelievably clingy and not stop.

This is where the rumor of him being a difficult, physically abusive child came from. She claimed he would beat her and her sister. Reminder, he was about four years old.

His family was admitted in order for the social workers to observe interaction within the family. The family would arrive at 7 in the morning and leave at 4 for the next 4 weeks in order for them to locate the issue.

Breivik attended a “treatment kindergarten” at the facility so they could observe his behavior independently. It was ridden with toys, games, tools- enough to be considered overwhelming for most children.

It was here that this rumor of him being a difficult child was debunked- he performed the exact opposite way from what his mother described.

“A striking inability to immerse himself in play. Lacks joy in using toys. When other children play, he acts sideways. He is completely unfamiliar with "casual" play. He is careful with the toys. Anders lacks spontaneity, desire for activity, imagination and the ability to empathize. He also does not have a fluctuating mood like most people his age have. He also lacked language to express emotions. Anders requires strikingly little attention. He is careful, controlled, does not fuss much, is extremely neat and clean, and can become insecure without this. He does not take the initiative to contact other children. He participates mechanically in activities, without showing particular joy/pleasure. Often looks sad. He has difficulty expressing himself emotionally, but when reactions do occur, they are strikingly strong."

Breivik after only 4 days became immersed, expressing that he enjoyed his time at kindergarten and hated to leave. He had remarkable learning abilities, alongside the joy of understanding and grasping concepts completely and acceptance of praise, which is something that’s used to describe him even in his adult years. There was nothing wrong with Breivik- it was his home life that caused struggles for him.

He’s described as “Extremely neat, pedantic, who neither spills nor makes a mess. He constantly washes his hands and carefully wipes around his mouth. He becomes insecure when he cannot find adequate systems and is very concerned with arranging things neatly next to each other.”

But this abuse didn’t only happen at home. Even at the facility did Breivik’s mother cause issues. There was a time when she loudly reprimanded him, saying “I wish you were dead.” She was shortly diagnosed with borderline personality disorder.

This diagnosis would explain their relationship the most. She was able to hold onto him and wish him death at the same time. The rejection she gave him countless times was harsh and cold when only moments before she was kind.

“Anders falls victim to his mother's projections of paranoid aggressive and sexual fear towards men in general. she projects her primitive, aggressive and sexual fantasies onto him. Everything that she perceives as dangerous and aggressive in men."

It’s known that his mother punished him for the simple fact that he was a child.

After their month at the facility, it was obvious that Breivik needed to be taken away from his mother— that if he stayed, it would be developmentally restricting. He had already become an anxious, contact-averse child, and further abuse from his mother would cause it to become worse. He never cried when he got hurt, he never made up his own games, he had no friends, and it wasn’t his fault.

The first step to Breivik’s removal would be another respite home, and then eventually foster care. This idea was short lived— a report was sent to his father, Jens Breivik, who immediately demanded to take Breivik in as fast as possible. His mother, who was initially alright with letting Breivik go into foster care, was now adamant on keeping custody due to his father’s concern. She didn’t want Breivik to be in the custody of his father.

His mother’s lawyer was able to settle issues with his father quickly. Breivik would live with his mother until the main court hearing- his father dropped the case, assuming that this was the court saying it wasn’t a case of serious neglect. After this, his father continued to have little to no contact with Breivik.

(One of my favorite pieces of information to talk about when it comes to Breivik is the major resentment he holds towards his father. Before the attacks, Breivik visited his former stepmom and claimed that he was going to do something that would make his father proud.)

There was a further legal tug of war between the facility and his mother, eventually ending in his mother’s favor.

In the future, I’m probably going to write about his childhood outside of his familial relations! Of course, they’re important to consider, but I actually find his childhood/teenage years independent of his family extremely interesting.

[babyrdie]

Hiii, I hope you're well :))) I want to complain about something if you don't mind. It saddens me that Andromeda by Sophocles and Euripides is lost because they expanded Andromeda's character. We would have been able to learn about her personality, as well as her relationship with her parents

But still one thing that is clear is that she did NOT want to be sacrificed, she had dreams/desires and wanted to live at all costs, even if people see that as selfish she has every right to want to live

But in several retellings they make her want to sacrifice herself for the good of her kingdom which is totally out of character, because supposedly they want to give her "a voice" but they only do it to make Perseus look bad since that is not even what Andromeda wanted

I remember reading an article where the author mentioned a Greek pottery dating back to the VI BC depicting Perseus confronting Cetus with stones that Andromeda Gave Him (I don't remember if I ever saw the pottery) and the author basically said that apparently the earliest versions of the story had Andromeda participating in the defeat of Cetus or helping Perseus in some way, which I think is a much better way to do in retellings if they really want her to have more involvement in her own myth

—🪷

Hey! Thanks for the question, I'm doing fine and I hope it's the same for you. Also, sorry for taking so long! I was trying to find some article/book that commented on this vase you mentioned because I found interesting! I also found other things, so this post will probably be long because I feel they’re of interest to the seemingly eternal debate surrounding the Andromeda agency (whether in relation to sacrifice or marriage).

I don't usually read retellings or watch adaptations, so I don't know what the adaptations of the Andromeda myth are like. So, I won't focus on that and will think more about the aspect of what we can learn about Andromeda from the myths. I think that even with Euripides and Sophocles gone, we have enough hints about Andromeda's psyche. So, this post will be more me arguing in favor of the following things:

1) Andromeda wasn't a character adept at self-sacrifice;

2) Perseus saved Andromeda, if not out of love, at least out of passion;

3) At some point, the feeling was reciprocal;

4) The marriage wasn't disadvantageous to Andromeda.

Details:

I usually include the secondary source details (author, page, title) at the time I cite them, but in this case I'll try another organization. As for primary sources, I obviously didn’t include all of the Greco-Roman primary sources for Andromeda. Also, Sophocles' play is notably absent because, unlike Euripides' play, the surviving fragments do not give us enough insight into the character's psyche.

Sometimes the post will tend to other characters, but that's because I feel they will be useful examples of my opinion (in this case, sacrificial characters besides Andromeda). Note that, since the focus is STILL Andromeda, I won't go into too much depth on them and will use them in a more simplistic way. So if someone thinks "well, but the context of this character is much more complex and..." yeah, but the character isn’t the focus. It's just an example.

And as always, a typical warning in case someone who doesn't follow me reads this post... it’s a hobby post. My posts are huge, yes, but they're all purely for entertainment. This is an opinion post. Lotus Anon wanted to talk to me about the subject, I'm just "talking" so to speak.

ANDROMEDA: WILLING OR UNWILLING SACRIFICIAL MAIDEN?

When I received this ask, I at one point wondered what the oldest literary source of Andromeda had to say about her since you mentioned the article theorizing about oldest version with a visual source. When I was trying to remember, I got the impression that there was an apparent Andromeda absence in ancient literary sources — absence not in the sense of necessarily not existing at the time, but of not being mentioned — even when Perseus, her husband, is mentioned. The oldest literary source of Perseus is The Iliad, since the Homeric text presents an episode in Book 14 known as the seduction of Zeus by Hera, who intended to distract him (sexually) and put him to sleep with the help of the god Hypnos in order to give the Achaeans an advantage in the Trojan War. At one point, Zeus compares Hera to the other women who attracted him, claiming that none of them attracted him more than Hera was attracting him at that moment. Among them, he cites Danae as saying “nor when I desired Danaë of the shapely ankles, daughter of Akrisios, who bore Perseus, conspicuous among all men” (14.319–320, trans. Caroline Alexander). Also, “Sthenelos, son of Perseus” is identified when describing Hera’s intervention in the birth of Heracles (19.97–144). The Iliad, however, doesn’t give the heroic Perseus who saves his mother and future wife, but rather gives his genealogy — maternal grandfather Acrisius, mother Danae, father Zeus, son Sthenelos. Consequently, Andromeda isn’t actually mentioned, although it could perhaps be argued that she is implied since Sthenelos in later sources is explicitly the son of Andromeda. A text usually attributed to Hesiod had already demonstrated the heroic aspect of the Perseus myth by describing him dealing with the Gorgon sisters in the Shield of Heracles (216–236, trans. H.G. Evelyn-White), although Andromeda was still notably absent since her sacrifice wasn’t the theme, but rather the killing of the Gorgons. In later sources it was specified that Perseus was meant to protect his mother, although the Shield of Heracles doesn’t make this explicit, so perhaps it could be argued that Perseus as protector of his family was already implied. 

Then I noticed that, although Andromeda is apparently absent in these older texts, the idea of ​​a virgin being sacrificed isn’t completely absent. In the Homeric texts, there really isn't much to be said. Polyxena is never acknowledged as existing, and consequently her sacrifice isn’t a theme — something that Pausanias, in Description of Greece 1.22.6, seems to think was intentional on the poet's part. Iphigenia is also never directly mentioned, and her existence in the Homeric tradition is a matter of debate, with some arguing that a speech by Agamemnon (1.101-120) indicates that Calchas had previously asked him to sacrifice Iphigenia, others arguing that Iphinassa is Iphigenia and therefore Iphigenia is alive (9.144-145), and finally, there is further debate as to Clytemnestra's motivation for murdering Agamemnon in The Odyssey — Cassandra is certainly a catalyst, judging by Book 11, but in the Homeric tradition is Iphigenia supposed to be a catalyst as well? For all intents and purposes, however, Iphigenia is still not explicitly mentioned in any of these narratives, regardless of the debates. But, according to Pausanias, the Hesiodic Catalogue of Women apparently already alluded to the sacrifice of Iphigenia although he apparently went with the version in which she isn’t literally killed (frag 71) and the lost poems of the Epic Cycle apparently also already acknowledged the maidens sacrifices — Proclus' summaries of The Cypria and The Sack of Ilium (considered frag 1 of each epic) indicate that in the first epic there was the sacrifice of Iphigenia and in the second there was the sacrifice of Polyxena. Thus, even if the myth of Andromeda isn’t explicit in the sources, the trope of the sacrificed virgin already was.

Ironically, it’s as if Andromeda's essence is here, but Andromeda herself isn’t. Perseus, her husband, and Sthenelos, her son, exist, but she isn’t mentioned. The virgins are being sacrificed, but we don’t hear of Andromeda's sacrifice. Looking for any signal of her in literary sources, I felt as if I were getting hints of Andromeda in Archaic Greece, but not the real thing. Or at least, that is what I thought when I checked the Evelyn-Hugo edition of the Catalogue of Women in the Theoi... I later found the detail that fragment 135 MW is also listed as being in the Hesiodic Catalogue of Women and contains a reference to Andromeda:

... Abas; and he be[got a son,] Akrisios.... [Pe]rseus, whom... [in a che]st into the sea... [b]rought up for Zeus... gold... dear Perseus... [and from him and] Andromeda [daughter of] Kepheus [were born Alkaios] and [S]thenelos and the force [of Elektryon]... by the cattle... for [the Te]leboai... [A]mphitryon  

Translation by Silvio Curtis, retired from gantzmythsources. Note that the parts “[]” are reconstructions and “...” are lacunas.

So, a literary confirmation of the existence of Andromeda in Archaic Greece! Although her myth hasn’t been preserved in this part, the mention of her marriage to Perseus seems to be a nod to her sacrifice, rescue and consequent marriage. Considering that the edition of Theoi is from 1914, I imagine that this fragment doesn’t appear in it because it was added to the fragments of the Catalogue of Women in some later year of the academic research that tries to reconstruct it. I saw that West (1985) had already commented on this fragment, although he was particularly interested in the geographical and genealogical aspects and, therefore, it isn’t useful to me because I’m trying to get clues about the psychological aspect of Andromeda. I saw that many also argued in favor of the myth of Andromeda having foreign influences, but the uncertainties of the more complex parts of these theories don’t give me many clues about what this means for the character's psychology and says more about the narrative and visual elements of the myth. In short, all this only attests to Andromeda's existence, but gives us nothing about her thoughts.

Ogden (2008, p. 67–68) has commented on the earliest visual source attesting to Andromeda. It’s the Corinthian black-figure amphora of ca. 575–50 BC, which places it as a 6th century BC source. It’s possible to identify it because the inscriptions of the characters have been preserved, indicating the names Cetus, Perseus, and Andromeda. However, Perseus' usual weapons — the head of Medusa or a sword — are notably absent, and he actually appears to be throwing stones at Cetus. I imagine this is the pottery you were talking about, nonnie! It really does exist!

Perseus rescuing Andromeda from the monster at Joppa. Late Corinthian amphora, second quarter of the sixth century BC. Berlin F1652. Drawing by author. See here.

This pottery had already been mentioned by Philips (1968, p. 1), who interpreted Andromeda's drawing as an indication of her excitement:

Perseus in his role as savior of Andromeda is known as early as the first half of the sixth century B.c. on a late Corinthian amphora now in Berlin (pl. I, fig. I). Here, with neither the Gorgon's head nor his harpe, he seems to throw stones at a long-tongued monster while Andromeda gesticulates in excitement. Each character is named. 

If we follow this interpretation, it would make one of the earliest sources of Andromeda an indication of her happiness at being rescued, which could imply her uncooperativeness with the sacrifice. Looking at the figure, it’s interesting that although Andromeda is behind Perseus, she appears to be holding more rocks. This could indeed imply that Andromeda is actively helping to defeat Cetus, which again would indicate her opposition to being sacrificed and her willingness to receive help. The detail that one of the earliest sources of Andromeda depicts her as opposing her sacrifice is significant, as there is nothing to prevent other lost contemporary sources from having followed the same logic — in fact, it’s much more evident from the later surviving sources.

As for Andromeda's cooperativeness in her sacrifice, a emphasized element in her myth is the way in which Andromeda was intended to be sacrificed. Several texts, both Greek and Roman, described how she was chained, for example:

Euripides’ Andromeda — “Do you see? Not in dancing choruses nor among the girls of my age do I stand holding my voter’ funnel, but entangled in close bounds I am presented as a food for the sea monster Glaucetes, with a paean not for my wedding but for my binding. Bewail me, women, for I have suffered pitiful plight—O suffering, suffering man that I am!—and other lawless afflictions from my kin, though I am implored the man, as light a lament filled with tears for my death”, frag 122. Loeb edition.

Ovid’s Metamorphosis — “They bound her fettered arms fast to the rock”, Book 4. Translation by Brookes More.

Ovid’s Ars Amatoria — “What was less hoped for by Andromeda, in chains”, Book 3. Translation by A.S. Kline.

Lucian’s Dialogue of the Sea — “Andromeda, fettered to a jutting rock”. Translation by H.W. and F.G. Flower.

Pliny the Elder’s Natural History — “and Joppe, a city of the Phoenicians, which existed, it is said, before the deluge of the earth. It is situate on the slope of a hill, and in front of it lies a rock, upon which they point out the vestiges of the chains by which Andromeda was bound”, 5.69. Translation by Henry T. Riley.

Philostrathus, Imagines — “while Eros frees Andromeda from her bonds”, 1.29. Translation by Arthur Fairbanks.

Pseudo-Apollodorus’ Library — “But Ammon having predicted deliverance from the calamity if Cassiepea's daughter Andromeda were exposed as a prey to the monster, Cepheus was compelled by the Ethiopians to do it, and he bound his daughter to a rock”, 2.4.3. Translation by J.G. Frazer.

Antiphilus in Greek Anthology — “she who is chained to the rock is Andromeda”, 147. Translation by W.R. Paton.

Solinus’ Polyhistor — “This town displays a rock which to this day retains traces of the chains used to bind Andromeda”, 34. Translation by Arwen Apps.

Nonnus’ Dionysiaca — “One made for Cepheus's daughter, and with starry fingers twisting a ring as close as the other, enchained Andromeda, bound already, with a second bond aslant under her bands”, Book 1; “Again she awakened a new resentment, seeing the heap of Andromeda's broken chains beside the Erythraian sea, and that rock lying on the sand, Earthshaker's monstrous lump”, Book 31; “Perseus on the wing loosed the chains of Andromeda and offered the stone seamonster as a worthy bridal gift”, Book 47. Translation by W.H.D. Rouse.

And one has to wonder why Andromeda is chained in the sources in general when I can't think of this as a common sacrificial motif in Greco-Roman literature, but here I want to focus on the fact that she is still chained in the Euripidean version. Euripides certainly knows what to do when he wants to emphasize that a character who is a sacrificial victim has regained some agency, however small. If Aeschylus depicted Iphigenia crying and screaming and being bound in Agamemnon, Euripides depicted her walking freely to the altar. If visual representations of Polyxena depicted her being immobilized and carried away by the Achaeans, Euripides made it so that, by showing no resistance, such immobilization was unnecessary. This isn’t to say that Iphigenia or Polyxena wanted to die in Euripides’ version, but it does indicate something about the role resistance plays into their death. And even with Euripides having  this tendency, his Andromeda remains chained rather than subverted as he did with Iphigenia and Polyxena. In the purpose of explaining what I want to explain, let’s do some comparison. These are examples that involve the need for someone to give up their life. Menoeceus and Alcestis weren’t literally sacrificed as were Iphigenia, Polyxena, Andromeda, and Maiden (Macaria), but I’m still including them.

In Alcestis, king Admetus (he was the king of Pherae) was given the opportunity to live beyond his destined life because of the favor of the god Apollo, but on the condition that someone else would have to willingly die in his place. Admetus couldn’t find anyone willing to do this for him, including his elderly parents, and so when Death came to collect his share of the bargain, his wife Alcestis volunteered to die in his place. Since the bargain required a voluntary sacrifice, Alcestis did so of her own will, even though Admetus didn’t wish her to die and lamented it greatly afterwards. Her act was praised as an act of love and is even cited as an example in Plato's Symposium (179b-208d). She was later rescued from Death by Heracles, who was a guest of Admetus.

In The Phoenician Women, the Thebans and Argives are in conflict because of the brothers Eteocles and Polynices, both of whom desire the crown and have also been cursed by their father Oedipus. At one point, the seer Tiresias informs the Theban king Creon that he must sacrifice his son Menoeceus to save Thebes from divine punishment imposed by the god Ares. Creon, however, actively resists the plan, even instructing Menoeceus to flee so that he may live. However, despite pretending to agree with his father, Menoeceus disobeys and willingly sacrifices himself, appeasing the divine wrath. This is considered a heroic act, as he willingly offered his life in exchange for the salvation of his people despite having the option of fleeing and being supported in doing so by Creon.

In Iphigenia in Aulis, Iphigenia initially shows resistance and fear at the idea of ​​being sacrificed to the goddess Artemis, but eventually gives in and subverts her sacrifice from a tragedy to a form of immortality despite the active opposition of her mother Clytemnestra and the suggestion of her not-really-groom Achilles to save her. By showing no more resistance, Iphigenia, according to the Messenger who notifies Clytemnestra, also “dies” — she is, in fact, replaced by a deer — in the most dignified way possible considering the context. Her voluntary sacrifice seems to be equated with the sacrifice of a warrior to obtain kleos, making her in some ways an active heroine rather than a passive victim — although she is still a victim of the war. Iphigenia, despite having had a fear of death, eventually sees it as a source of pride.

In Hecuba, Polyxena, having no other choice, is conformed to be sacrificed and attempts to regain some agency by taking this as her way out of slavery despite the active opposition of her mother Hecuba. Because she doesn’t resist, regardless of how she feels, Polyxena isn’t forcibly dragged away or anything like that. Talthybius would later report to Hecuba that Polyxena supposedly died in the most dignified way possible, given the situation she was in. Polyxena is different from Iphigenia in that she isn’t seeking fame or any recognition of her sacrifice, but she is still emphasized as being dignified to the point that Talthybius makes a point of emphasizing that Polyxena managed to hide her body as she died in order to maintain modesty. Part of Polyxena's argument was precisely to be able to maintain as much dignity as possible, since this was and would be further stripped from her as a princess on the losing side and enslaved girl.

In The Heraclidae, Maiden has the chance to escape the sacrifice, but doesn’t do so, going so far as to refuse a lottery (which maybe would have given a maiden other than her and thus prevented her from being killed) and offers to be sacrificed, thinking that this will help her city win the conflict since the oracle informed them that they would only win if a maiden was sacrificed. She does so even though Iolaus shows resistance to the idea. Maiden sees this as a noble act because she considers it to demonstrate her courage and not her cowardice, again indicating how this is something she does because she wants to be heroic and save everyone.

In all cases, one or more figures demonstrate more resistance than the person who will die (Admetus/Alcestis, Creon/Menoeceus, Clytemnestra-Achilles/Iphigenia, Hecuba/Polyxena, Iolaus/Maiden), which isn’t the case with Andromeda, who in the fragments seems to be the one demonstrating the most active resistance. The characters refuse this resistance for their own reasons, but unlike Andromeda, she begs Perseus to help, actively wanting her sacrifice to be stopped (frag 128). Eventually the character allows herself to be sacrificed, even though the reasons and context are quite difficult and in all cases there is a hint of coercion in the fact that, if they don’t accept, they will either be forced or will condemn the others. With this kind of attitude, they claim it as a way of maintaining dignity, or as a noble act, or as a heroic attitude or something of the sort. Andromeda doesn’t do this, she sees it as a complete tragedy, as a miserable life, and she doesn’t seem to try to comfort herself with the idea that if she accepts being sacrificed, she will be heroic (frag 122). In any case, none of them have their movements limited, as they’re all “willing”. On the other hand, Andromeda is chained, as if, by allowing her freedom, she won’t stay there. The physical immobilization itself is a miserable attempt to immobilize her emotions, to make her conform. She is physically chained, yes, but metaphorically she is also supposed to feel chained by duty to her people… and yet Andromeda isn’t. There is no patriotism in the world that will make her be. Silva (2023, p. 122) is of the opinion that Andromeda’s lament, unlike Iphigenia’s lament, doesn’t demonstrate any longing for the past and no hope that her mother or father will do something for her. There is nothing that will make her invest emotionally to the point of giving up on living, even under coercion.

In fact, Andromeda seems to contrast some elements of the other characters! For example:

Polyxena, in Hecuba, says “By the gods, leave me free; so slay me, that death may find me free; for to be called a slave among the dead fills my royal heart with shame“ (550-552, trans. E.P Coleridge), thought apparently shared by The Trojan Women Andromache when she speaks “Her death was even as it was, and yet that death of hers was after all a happier fate than my life” (630-631, trans. E.P. Coleridge) concerning the death of Polyxena. But Andromeda, when begging Perseus says “take me with you, stranger, whether you want me as a servant, a wife, or a slave” (frag 129, Loeb edition), implying that she would even prefer to be enslaved rather than die, which is the opposite of Polyxena.

In Iphigenia in Aulis, Achilles says “But now that I have looked into your noble nature, I feel still more a fond desire to win you for my bride. Look to it; for I want to serve you and receive you in my halls; and, Thetis be my witness, how I grieve to think I shall not save your life by doing battle with the Danaids. Reflect, I say; a dreadful ill is death” (1410-1415, trans. E.P. Coleridge), reiterating the offer that Iphigenia could supposedly marry him after he saved her (she wouldn’t be obliged to marry in order for him to save her, to be clear. But since Iphigenia had initially wanted to marry, his offer was a way of guaranteeing her something), but between (unlikely) marriage and death, Iphigenia still declines Achilles' offer by saying "let me, if I can, save Hellas" (1420, trans. E.P. Coleridge). On the other hand, Andromeda accepts Perseus' offer that, as a reward for rescuing her, she marry him (frag. 129-129a).

Bocholier (2020, p. 15), when commenting on the plot of The Heraclidae, says “Who but a girl, besides, to embody this absolute fidelity to kin and blood ties, this family order older than the Greece of the cities?”, interpreting that Maiden's sacrifice has a symbolic aspect regarding familial loyalty — that is, Maiden offers herself out of loyalty to her family and her city, which theoretically should be above her own desires. On the other hand, Andromeda seems to deal with a lack of family structure more than a reaffirmation of those relationships. Cassiopeia, her mother, didn’t consider the consequences when she committed hubris (although she obviously didn't want that) and Cepheus, her father, may not have been happy with the sacrifice, but still went so far as to accept his daughter being chained. And when it is all over, Andromeda still leaves with Perseus despite Cepheus' disapproval (a reconstruction theory based on later sources that indicate that Euripides had this plot). There is no reaffirmation of filial loyalty here, although the familial relationship is still complex.

And still on the subject of chaining, while in The Phoenician Women Creon offered Menoeceus the chance to escape to another place and be helped by his father when Creon suggests “But come, my son, before the whole city learns this, fly with all haste away from this land, regardless of these prophets' reckless warnings; for he will tell all this to our rulers and generals [going to the seven gates and the captains]; now if we can forestall him, you are saved, but if you are too late, we are ruined and you will die” (970-976, trans. E.P. Coleridge), Cepheus never gave Andromeda such an opportunity. Menoeceus didn’t run away because he chose to, but Andromeda didn’t run away because she had no choice (frag 122).

In Alcestis, the request needs someone willing to die, without requiring a specific person and desiring live will. But in the myth of Andromeda, she is specifically requested and her willingness isn’t required.

In this sense, it is as if the characters were divided into the following categories:

Certainly voluntary sacrifice, since the willingness was necessary and there was no external agent that forced it: Alcestis;

Ambiguous sacrifice in voluntariness, since although the characters claim their agency by transforming the sacrifice into something that supposedly benefits them, there are still external agents that would possibly prevent them from rejecting it: Polyxena, Iphigenia, Menoeceus, Maiden.

Certainly involuntary sacrifice, since disposition doesn’t matter, there is no claim of agency and there are repeated attempts until the end of the play to escape: Andromeda.

While the other characters died clothed, this kind of dignity is sometimes not afforded to Andromeda: “I was looking at the picture of Andromeda brought down by Perseus naked from the rock” (Hellodorus’ Ethiopica trans. Thomas Underdowne), “Andromeda, fettered to a jutting rock, her hair hanging loose about her shoulders; ye Gods, what loveliness was there exposed to view!” (Dialogues of the Sea 14 trans. H.W. and F.G. Flower). Again, it makes it hard to believe that her sacrifice was considered voluntary or even ambiguous. She is, of course, not always mentioned naked and has often been visually depicted clothed, but the chains still seem a constant. Even when Andromeda is fully clothed, she has still been stripped of her agency. She still feels humiliated, still feels as if she isn’t being treated as a person. This is all still very disturbing for Andromeda, an overwhelming feeling that the end is coming and she can't do anything about it — an immense feeling of helplessness. A princess stripped of any power, quite ironic.

Comparing some lines:

“Who will escort me from here, before my hair is torn?”, Iphigenia asks in 1458. Hair-pulling is a form of violent humiliation known from Greek works, but it’s especially famous in the visual representations in which the Trojan princess Cassandra is depicted with her hair being pulled by Lesser Ajax. Other visual examples that I know of are a visual source that shows Achilles dragging prince Troilus by his hair and two visual sources that show Clytemnestra dragging Cassandra by her hair. With this line, Iphigenia shows that, as much as she saw pride in her voluntary sacrifice, she is quite aware that if she hadn’t accepted, she would have been violently coerced (something that, for example, happened in Aeschylus' version, as indicated in the play Agamemnon). Therefore, by accepting, Iphigenia also demonstrates an attempt to control the dignity with which she dies.

“Then he, half glad, half sorry in his pity for the maid, cut with the steel the channels of her breath, and streams of blood gushed forth; but she, even in death, took good heed to fall with grace, hiding from the gaze of men what must be hidden. When she had breathed her last through the fatal gash, no Argive set his hand to the same task, but some were strewing leaves over the corpse in handfuls, others bringing pine-logs and heaping up a pyre; and the one who brought nothing would hear from him who did such taunts as these, “Do you stand still, ignoble wretch, with no robe or ornament to bring for the maiden? will you give nothing to her that showed such peerless bravery and spirit?”, says Talthybius when reporting the sacrifice of Polyxena in 566-580. Polyxena isn’t shown being held down while she is killed, as happens in some visual representations in which she is immobilized by Achaeans, but rather offering her chest (heart) and throat (trachea) to be cut. By exposing herself without an external agent immobilizing her, Polyxena is given the chance, in her last moments, to be able to quickly move to cover herself, thus dying in a way that she considers dignified (i.e., not naked to the eyes of the enemy). Although her sacrifice is required by the context, her attitude of exposing herself is interpreted as a sign of bravery and, therefore, she receives ornaments, which theoretically should be a form of funerary honor. Such “honor” would hardly have been made available to Polyxena’s body if she weren’t seen as “brave”. If Polyxena had actively resisted, she would have forced herself into it and would have died in a much physically violent way, without any chance to try to gain as much comfort as possible from a miserable death.

While Menoeceus is never threatened with a possibly undignified situation (which makes me wonder if this has something to do with him being a male sacrifice required  rather than a sacrificial maiden), Creon's lines “Ah me! what shall I do? Am I to mourn with tears myself or my city, which has a cloud around it [as if it went through Acheron]? My son has died for his country, bringing glory to his name, but grievous woe to me. His body I have just now taken from the dragon's rocky lair and sadly carried the self-slain victim here in my arms; and the house is filled with weeping; but now I have come for my sister Jocasta, age seeking age, that she may bathe my child's corpse and lay it out. For those who are not dead must reverence the god below by paying honor to the dead” in 1310-1321 are structured so that the declaration that Menoeceus' death was heroic precedes the demand for dignified funeral honors. Voluntary death dignified Menoeceus.

Maiden isn’t threatened because her sacrifice isn’t asked for directly, but by saying “Then fear no more the Argive enemy's spear. For I am ready, old man, of my own accord and unbidden, to appear for sacrifice and be killed. For what shall we say if this city is willing to run great risks on our behalf, and yet we, who lay toil and struggle on others, run away from death when it lies in our power to save them? It must not be so, for it deserves nothing but mockery if we sit and groan as suppliants of the gods and yet, though we are descended from that great man who is our father, show ourselves to be cowards. How can this be fitting in the eyes of men of nobility? Much finer, I suppose, if this city were to be capture（God forbid! and I were to fall into the hands of the enemy and then when I, daughter of a noble father, have suffered dishonor, go to my death all the same! But shall I then accept exile from this land and be a wanderer? Shall I not feel shame if someone thereafter asks, [Why do you come here with your suppliant branches when you yourselves lack courage? Leave this land: for we do not give help to the base]?” in 500-519 (trans. David Kovacs) she reveals that her motivation isn’t solely heroic. It isn’t only that she wishes to demonstrate courage and nobility by sacrificing herself for the good of all, but it is also because she recognizes that if the prophecy isn’t fulfilled and no maiden is sacrificed, her people will lose the war and that means dead men and enslaved women, including herself. By sacrificing herself, Maiden prevents herself from being enslaved and also prevents other women from being enslaved. She follows a logic that it’s better to have a glorious death than a miserable life, again her voluntariness linked to the dignity.

The case of Alcestis doesn’t apply in this specific comparison, as the sacrifice couldn’t be coerced.

In contrast, Andromeda feels so humiliated that she compares herself to food, and part of this feeling that her dignity has been taken away from her is motivated by the chain: “to set (me) out as food for the sea monster” (frag 115), “[...] but entangled in close bonds I am presented as food [...]” (frag 122). Devoured by the monster, Andromeda wouldn’t have a quick and clean death, and it would definitely not be a death that would make her feel dignified. She feels like food because she feels dehumanized. She has no hope of trying to find a more "humane" or "dignified" way to die because, once the death is being eaten alive by a monster, there aren't many options.

There are texts, both Greek and Roman, that emphasize Andromeda's feelings at the moment, making it clear how sad she was about being sacrificed and how happy she was to be saved:

Euripides’ Andromeda — “Why have I, Andromeda, been given a share of suffering above all others—I, who in misery here am facing death?”, frag 115; “Feel my pain with me, for the sufferer who shares his tears has some relief from his burden”, frag 119. Loeb edition.

Ovid’s Metamorphosis — “but the breeze moved in her hair, and from her streaming eyes the warm tears fel [...] as overcome with shame, she made no sound: were not she fettered she would surely hide her blushing head; but what she could perform that did she do—she filled her eyes with tears [...] Over the waves a monster fast approached, its head held high, abreast the wide expanse —The virgin shrieked”, Book 4. Translation by Brookes More.

Ovid’s Ars Amatoria — “What was less hoped for by Andromeda, in chains han that her tears could please anyone?”, Book 3. Translation by A.S. Kline.

Philostratus, Imagines — “for she seems to be incredulous, her joy is mingled with fear, and as she gazes at Perseus she begins to send a smile towards him”, 1.29. Translation by Arthur Fairbanks

Nonnus’ Dionysiaca — “Perseus saved Andromeda in her affliction”, Book 18; “old Cepheus is unhappy still, when he sees Andromeda's fear, and the Monster of Olympos coming, after what happened here on earth!”, Book 25. Translation by W.H.D. Rouse.

Andromeda’s unhappiness at being sacrificed may not necessarily indicate her lack of consent to it — after all, Iphigenia in Iphigenia in Aulis also openly expressed her unhappiness and in the end she consented —, but her determination to get help and her immense joy at actually being helped are indications of how unwilling she was. She could have refused it, just as the other characters I’ve given as examples did, but she didn’t. Andromeda wanted this help because she never wanted to be there and she never even tried to regain agency like, for example, Polyxena did — who also didn't want to be in the situation she was in and had no real agency but tried to get the impression of it. Andromeda accepted that she had no agency and showed no signs of wanting to subvert it. It’s as if, while Iphigenia made the sacrifice about her more than the war, Andromeda had no such pretensions. Andromeda not only knows it’s not about her — she also doesn’t want it to be. There is no sense of accomplishment for her, as there may have been for Menoeceus and Maiden. She is in deep despair. In this sense, Euripides' Andromeda more closely resembles the kind of description Aeschylus offered of Iphigenia's sacrifice, in which she wept and screamed and resisted so much that she was immobilized and silenced. That is, she more closely resembles an example where there isn’t a self-sacrifice, but an entirely forced sacrifice without any attempt to regain agency through the sacrifice itself, but the agency being played out in vain resistance (for however much Aeschylus Iphigenia and Euripides Andromeda resisted, it didn’t alter the minds of their people. Andromeda had an strange not affected by the context to be bothered by the situation, but Iphigenia received no such thing).

Therefore, with this, I wanted to argue in favor of the idea that Andromeda's sacrifice, in the sources in general, isn’t voluntary.

ANDROMEDA AND PERSEUS: A LOVE STORY?

Here, I’ll discuss my interpretation of the relationship based on the sources. First, it’s notable that there is an eroticism surrounding the myth of Andromeda. Although this is already evident in many sources, it becomes even more obvious when the god Eros is literally included. In the Greco-Roman literary sources, these are some examples of the emphasis on eroticism in the myth (note that I’m using eroticism as an term for both romance and sexuality):

Above all beware of reproaching girls for their faults, it’s useful to ignore so many things. Andromeda’s dark complexion was not criticised by Perseus, who was borne aloft by wings on his feet. [...]

Ars Amatoria, Book 2. Translation by A.S. Kline.

PHILODEMUS O feet, O legs, O thighs for which I justly died, O buttocks, O pubis, O flanks, O shoulders, O breasts, O slender neck, O arms, O eyes I am mad for, O accomplished movement, O admirable kisses, O exclamations that excite! If she is Italian and her name is Flora and she does not sing Sappho, yet Perseus was in love with Indian Andromeda.

Greek Anthology, 5.132. Translation by W.R. Paton.

TRITON: When he was at the Ethiopian shore here, and now flying low, he saw Andromeda lying fastened to a projecting rock—ye gods, what a beautiful sight she was!—with her hair let down, but largely uncovered from the breasts downwards. At first he pitied her fate and asked the reason for her punishment, but little by little he succumbed to love, and decided to help, since she had to be saved. So when the monster came—a fearsome sight it was too!—to gulp her down, the young man hovered above it with his scimitar unsheathed, and, striking with one hand, showed it the Gorgon with the other, and turned it into stone. At one and the same time was the monster killed, and most of it, all of it that faced Medusa, petrified. Then Perseus undid the maiden’s chains, and supported her with his hand as she tip-toed down from the slippery rock. Now he’s marrying her in Cepheus’ palace and will take her away to Argos, so that, instead of dying, she’s come by an uncommonly good marriage.

Dialogue of the Sea Gods, 14.3.  Translation by Henry Watson and Fowler.

[...] Without a dower he takes Andromeda, the guerdon of his glorious victory, nor hesitates.—Now pacing in the van, both Love [Eros] and Hymen wave the flaring torch, abundant perfumes lavished in the flames. The houses are bedecked with wreathed flowers; and lyres and flageolets resound, and songs— felicit notes that happy hearts declare. The portals opened, sumptuous halls display their golden splendours, and the noble lords of Cepheus' court take places at the feast, magnificently served. After the feast, when every heart was warming to the joys of genial Bacchus , then, Lyncidian Perseus asked about the land and its ways about the customs and the character of its heroes. [...]

Metamorphoses, Book 4. Translation by Brookes More.

No, this is not the Red Sea nor are these inhabitants of India, but Ethiopians and a Greek man in Ethiopia. And of the exploit which I think the man undertook voluntarily for love, my boy, you must have heard – the exploit of Perseus who, they say, slew in Ethiopia a monster from the sea of Atlas, which was making its way against herds and the people of this land. Now the painter glorifies this tale and shows his pity for Andromeda in that she was given over to the monster. The contest is already finished and the monster lies stretched out on the strand, weltering in streams of blood – the reason the sea is red – while Eros [Love] frees Andromeda from her bonds. Eros is painted with wings as usual, but here, as it not usual, he is a young man, panting and still showing the effects of his toil; for before the deed Perseus put up a prayer to Eros that he should come and with him swoop down upon the creature, and Eros came, for he heard the Greek’s prayer. The maiden is charming in that she is fair of skin though in Ethiopia, and charming is the very beauty of her form; she would surpass a Lydian girl in daintiness, an Attic girl in stateliness, a Spartan in sturdiness. Her beauty is enhanced by the circumstances of the moment; for she seems to be incredulous, her joy is mingled with fear, and as she gazes at Perseus she begins to send a smile towards him. He, not far from the maiden, lies in the sweet fragrant grass, dripping sweat on the ground and keeping the Gorgon’s head hidden lest people see it and be turned to stone. Many cow-herds come offering him milk and wine to drink, charming Ethiopians with their strange colouring and their grim smiles; and they show that they are pleased, and most of them look alike, Perseus welcomes their gifts and, supporting himself on his left elbow, he lefts his chest, filled with breath through panting, and keeps his gaze upon the maiden, and lets the wind blow out his chlamys, which is purple and spattered with drops of blood and with the flecks which the creature breathed upon it in the struggle. Let he children of Pelops perish when it comes to a comparison with the shoulder of Perseus! for beautiful as he is and ruddy of face, his bloom has been enhanced by his toil and his veins are swollen, as is wont to happen when the breath comes quickly. Much gratitude does he win from the maiden.

Imagines, 1.29. Translation by Arthur Fairbanks.

ANTIPHILUS On a Painting of Andromeda The land is Ethiopian; he with the winged sandals is Perseus; she who is chained to the rock is Andromeda; the face is the Gorgon’s, whose glance turns men to stone; the sea-monster is the task set by Love [Eros], she who boasted of her child’s beauty is Cassiopea. Andromeda releases from the rock her feet inured to numbness and dead, and her suitor carries off the bride his prize.

Greek Anthology, 16.147. Translation by W.R. Paton.

When he saw the girl hanging from the rock,  he stiffened—he whom even his enemy had not stunned.  Scarcely did he hold his prize in his hand,  and the conqueror of Medusa was conquered in the presence of  Andromeda.

Liber Quintus. Translation by James Uden. [Detail: there is also the argument that this source is actually a way of de-emphasizing eroticism, for those interested see “A Song from the Universal Chorus: The Perseus and Andromeda Epyllion”]

Regarding visual representations, Odgen (2008, p. 81-82) comments:

Artists also exploited the erotic potential of the suspended Andromeda. Vase painters and wall painters often preferred to represent her clothing diaphanously (e.g. LIMC Andromeda I no. 23, a Sicilian calyx-crater of ca. 350–25 bc, and no. 32, a Roman wall- painting from Boscotrecase). And as with the writers, wardrobe mal- function could be deployed to enhance the effect. One notable example of this is found in the case of a fragment of a Lucanian bell-crater of the early fourth century bc, on which a voluptuous Andromeda holds her thin peplos-dress up in her teeth to preserve her modesty (LIMC Andromeda I no. 22). In ca. 340 bc the female nude entered the canon of Greek sculpture, and this seems to have had an impact on the ways in which Andromeda could be shown. A nude Hellenistic statue, preserved only in the form of a Roman copy reduced to little more than a torso, indicates what could be done. The delicate chain that rests across the top of the girl’s right thigh offers little to her modesty (LIMC Andromeda I no. 157, from Alexandria). No doubt this was the sort of thing Roman writers had in mind when they compared the suspended Andromeda to a statue. Full nudity was too much for the vase painters, and the only completely nude Andromeda to be found on a vase is a burlesque figure of ca. 340–30 bc on a Campanian hydria (LIMC Andromeda I no. 20). From the third century bc and onwards Etruscan and Roman relief-sculptors and wall-painters were less reticent about going all the way (e.g. LIMC Andromeda I nos. 53, 55, 75, 146a, 152). Roman artists favoured three tender vignettes with little or no correlate in the literary tradition, and all of these are to be found in profusion in Pompeian wall-paintings. In one Perseus is shown helping Andromeda down from her place of suspension, with a miniaturised dead ketos sometimes lying at their feet (e.g. LIMC Andromeda I nos. 67–71, 73–4, 78, 83–9, 209–11, 222). In the second, completely absent from the written record, we catch a now fully relaxed Perseus and Andromeda, their troubles behind them, sitting together and gazing at the reflection of the Gorgon-head in a rock-pool. Perseus is evidently recounting his earlier adventures to his new fiancée, perhaps still on the shore where the ketos was killed (LIMC Andromeda I nos.102–4, 109–10, 118, 120, Perseus nos. 66–73). In the third we find Perseus transporting Andromeda through the air, presumably back to Seriphos (LIMC Perseus nos. 229–30).

Furthermore, it must be considered that Eros/Love is represented, in some cases, in ceramics that address the rescue of Andromeda by Perseus, emphasizing the eroticism of the myth (for example, see here).

Gibert (1999-2000), in relation to Euripides' play Andromeda, comments on how it most likely had as its focus not the heroic conquest of Perseus, but the love between Perseus and Andromeda. There are even surviving lines in which the god Eros is invoked to help the pair of star-crossed lovers. One of the possibilities to be commented on is also the chances that Andromeda was the first play to represent a man falling in love. Note that it isn’t “a man in love”, but a “man falling in love” — that is, the moment in which the feeling arises. Furthermore, Andromeda was part of a trilogy that also contained the play Helen, which, unlike Andromeda, has survived. Although Helen has more than one theme, the emphasis on the romantic relationship between Helen and Menelaus is quite obvious, which perhaps allows for the theory that this specific trilogy proposed an approach to mythological romantic relationships. Not only that, but both Andromeda and Helen are a subject of debate in terms of genre, with scholars debating whether they are tragedy, comedy, or something else — much of this debate exists by the fact that Aristotle’s “Poetics” is often used as a reference for the rules of theatrical genres. Euripides, in this trilogy, apparently wasn’t trying to follow the known strict formulas.

The presence of such strong eroticism in the myth of Andromeda is actually something that intrigues me. It intrigues me how, in some ways, their relationship became stronger than Perseus’ heroic conquests. Yes, Perseus is still praised for facing Cetus, saving Andromeda, and then dealing with Phineus, but the focus is still on how he and Andromeda feel about each other. This, at least to my mind, still sounds more like a relationship myth than a conquest myth, although both elements are present and important. Even when we have sources that speak of Perseus' immortalization in the stars, Andromeda is usually emphasized as being immortalized in the stars as well (Nonnus' Dionysiaca, Pseudo-Hyginus' Astronomica, Aratus' Phaenomena).

Regarding Andromeda's reciprocity, Silva (2023, p. 130-131) comments that Andromeda, as a character in an Euripidean play that includes the elements of “escape” and “salvation,” resembles Euripidean characters Iphigenia (Iphigenia in Tauris) and Helen (Helen), and this would include her non-passivity in her escape. She supports this idea with what Erastatones says in Catasterismi 17, where he describes that Andromeda refused to stay her father and mother and went with Perseus of her own free will, and what is said in Pseudo-Hyginus' Astronomica, which gives a similar account that also emphasizes Andromeda's desire. For Silva, the play, therefore, addresses the idea of ​​a girl abandoning her family and homeland in order to follow her lover to an unknown situation. She also recalls that Peterson (1904, p. 101) interpreted Andromeda's decision as a disregard for traditional duties, after all she disobeyed her parents' wishes and left her homeland to go with a stranger. It wasn't supposed to be an easy decision.

Pseudo-Apollodorus records:

[...] But Ammon having predicted deliverance from the calamity if Cassiepea's daughter Andromeda were exposed as a prey to the monster, Cepheus was compelled by the Ethiopians to do it, and he bound his daughter to a rock. When Perseus beheld her, he loved her and promised Cepheus that he would kill the monster, if he would give him the rescued damsel to wife. These terms having been sworn to, Perseus withstood and slew the monster and released Andromeda. However, Phineus, who was a brother of Cepheus, and to whom Andromeda had been first betrothed, plotted against him; but Perseus discovered the plot, and by showing the Gorgon turned him and his fellow conspirators at once into stone. [...]

Library, 2.4.3. Translation by J.G. Frazer.

Regarding this passage, Faria (2023, p. 11) interprets that “it can be inferred that Perseus takes Andromeda's salvation as proof of love and, in order to free her, he faces the monster to which she was exposed and deals with conspiracies and adversities from opponents, such as Phineus” (improvised translation, the original was in Portuguese).

Now that I have established why I think Perseus was motivated by love and that the feeling was mutual, I’ll argue why I think the marriage was beneficial to Andromeda. Again, the comparison territory! Hesione is probably the sacrificial maiden most similar to Andromeda and I wouldn’t be surprised if one was derived from the other. Laomedon, the Trojan king, didn’t pay homage to the gods Apollo and Poseidon by building the walls of Troy, forced by the king of the gods Zeus to do so as punishment for both of them being part of a plan to betray him. This led to the prophecy that a sea monster would be sent to destroy Troy and that the only way to prevent this would be to sacrifice Hesione, one of the princesses. Heracles, seeing her there and talking to her, learned of what had happened. He then told King Laomedon that he would save her and Troy by killing the monster, but that he wanted Laomedon's divine horses as a reward (which, depending on the source, are explained as gifts from Zeus as compensation for the kidnapping of the young and beautiful Ganymede). Laomedon made the promise, but, just as he didn’t fulfill his duty to the gods, he didn’t fulfill his duty to Heracles. As a result, Heracles, along with other Achaeans, sacked Troy with drastic results. Priam, one of the princes, ended up inheriting Laomedon's throne, and Hesione was taken as a prize of war, with Heracles giving her to Telamon for his usefulness in the sack (see, for example, Pseudo-Apollodorus' Library and the Byzantine scholia of The Iliad).

The similarities to Andromeda are obvious, in terms of context:

The event takes place in a foreign/non-Greek place (Aethiopia/Troy);

A hierarchical power figure of the community commits hubris against the gods (Cassiopeia/Laomedon);

Poseidon is involved in both cases (he is requested by the Nereids, who were offended/he is one of the offended gods);

It’s prophesied that a sea monster (in the case of Andromeda, his name is Cetus) will destroy the city (Aethiopia/Troy) as punishment for this hubris; 

It’s also prophesied that the only way to avoid the destruction of the city (Aethiopia/Troy) is with the sacrifice of the daughter (Andromeda/Hesione) of the one who offended the gods (Cassiopeia/Laomedon). They’re both maidens and the sacrifice of both is justified as being the "best" for the community;

A Greek hero (Perseus/Heracles) appears, talks to the maiden (Andromeda/Hesione), finds out from her what is happening and negotiates a reward with her father (marriage/divine horses). Both heroes are sons of Zeusand have a mortal father figure (Dictys/Amphitryon);

The monster is defeated, the girl (Andromeda/Hesione) is taken.

There are, however, some crucial differences here, which I’ll comment on. Well, let us return to Euripides. Although the fragments of the play Andromeda aren’t in a 100% sure order, this is one of the possibilities suggested:

Perseus Maiden, if I should rescue you, will you show me gratitude?  Andromeda Take me with you, stranger, whether you want me a servant, a wife or a slave. Perseus  I have never abused the unfortunate in their unfortunate in adversity, for I may suffer adversity myself. Andromeda Do not bring me to tears by offering my hope; many things may happen that are unanticipated. 

Fragments 129-130. Loeb edition.

If we consider that the order is this, then the dialogue would be structured in such a way as to build a scene in which, despite Perseus initially demanding a reward for saving Andromeda, when Andromeda responded with such desperation (indicated by the way she even claims that she would be his slave, as long as he saved her), Perseus apparently realized that this wasn’t the best thing to say and made sure to assure Andromeda that he wouldn’t use her current vulnerability as a way to exploit her (which is why, right after Andromeda suggested slavery as his reward, Perseus claimed that he avoids taking advantage of other people's misfortune). In this case, Perseus would apparently be recognizing Andromeda's lack of power at that moment, knowing that vulnerability would possibly make her enter into exploitative scenarios, and in response he would have tried to assure her that her safety was guaranteed.

If this is indeed the original order of the play, it would make Andromeda's situation quite different from Hesione's. Hesione had no such safety guaranteed to her by Heracles or Telamon; she was actually taken to be enslaved in Salamis. For example, in Pseudo-Apollodorus Library 2.6.4 she is said to have been given as a prize to Telamon (“he [Heracles] assigned Laomedon's daughter Hesione as a prize to Telamon”, trans. J.G. Frazer), in Sophocles’ Ajax she is directly referred to as an enslaved captive (“you, the captive slave's son”, trans. Richard Jebb), and in the Byzantine scholia the scholiast makes Hesione's extremely disadvantageous situation even more obvious by saying “When Heracles sacked Troy, he took as prisoner Hesione, the daughter of Laomedon (and sister of Priam), and gave her as a war-prize to Telamon because he had fought with him” (trans. R. Scott Smith). Hesione has no legitimate status and consequently doesn’t have the legal protection of a wife. She is an enslaved woman, not a free person. We don't have to think about what Andromeda's life would be like if Perseus was the kind of guy who saved a girl from being sacrificed just to get her as a prize, without really considering her safety or feelings, because Telamon already did that with Hesione. We already know that story. Sure, there are a lot of euphemisms for master-slave relationships in the writing of some ancient authors, Briseis and Achilles is probably the most obvious example of this with authors talking about how Briseis' beauty turned him on and oh how he would leave the battlefield from her bed and the like, but even Briseis has been acknowledged for her disadvantageous status in various texts. No one has the slightest doubt that she has no legal protection, no one has the slightest doubt that Achilles has more power over her than any healthy relationship should allow and the Byzantine scholia, just as it recognized that Hesione is a prisoner, recognized that Iliadic Achilles wasn’t really caring about Briseis. But Andromeda? She never had this type of source. There is no euphemism in the world that would make Andromeda, with the amount of sources she has, not have been identified as being in a disadvantageous situation by at least one author. I would understand if she was a obscure character, but she's not.

And to further emphasize how Hesione is a very obvious example of what happens when the hero isn’t genuinely trying to save the girl, consider this fragment from Euripides’ play that is interpreted as Andromeda’s: “I forbid the acquiring of illegitame sons. Though in no way inferior to legitimate ones, they are handicapped by convention and this is something you must beware of” (frag 141). Presumably this line is Andromeda making Perseus assure her that he won’t have any illegitimate children, that is, children other than with Andromeda, whom he is promising to make his wife. The justification is that this will be a problem for the child who, no matter how good they are, will be treated with contempt by social convention. And well, since Hesione is an enslaved concubine and not a wife, Teucer, her son, is illegitimate. And he does have a problem with that. In Book 10 of The Iliad, Agamemnon reminds him that Telamon raising him in his household despite Teucer being a bastard is something that should be rewarded by Teucer bringing glory to Salamis. In Sophocles' Ajax, Agamemnon dismisses Teucer by saying that, as the son of an enslaved Trojan woman, he is also a barbarian and a slave, and as such, Agamemnon has no reason to listen to him. In other sources (Sophocles' lost plays, Euripides' Helen, Ioannis Tzetzes' Ad Lycophronem, Pausanias' Description of Greece, etc), Ajax's death results in Teucer's banishment by Telamon. Teucer's safety in Salamis was assured by Ajax, the legitimate son, caring for him. From the moment Ajax died, Teucer, in his illegitimate condition, also lost his safety. Not only is Hesione the embodiment of what Perseus's assurance is meant to prevent, Teucer is the embodiment of what Andromeda's demand is meant to prevent. 

And interestingly, none of the sources mention Perseus having mistresses or illegitimate children, so from what can be assumed from the surviving sources, he was indeed loyal and faithful to Andromeda.

THE SUBVERSION OF ANDROMEDA’S MYTH

Even in the comedy genre, which wasn’t meant to be taken seriously, these aspects of Andromeda remain. In Thesmophoriazusae, Aristophanes wrote a scene parodying Euripides’ Andromeda. Consequently, the characterization of the characters in this absurd situation (the context of this scene is insane, but I honestly don’t think it’s useful for this post) reflects Euripidean characterization and, consequently, Andromeda here is represented as someone who actively mourns and wants help. However, this becomes comical. Lourenço (1995, p. 285-291) argues that Aristophanes parodied this specific play because, similar to Euripides’ Helen (also parodied by him), it was one of the materials that provided the greatest melodramatic potential. The subversion of parody lies in transforming the tragic into the comic and the romantic into a very unromantic scenario. if the subversion of the play, forming the parody, is in making it funny and unromantic, then it reinforces the status of Euripides' original play as the story of a tragic couple in love. Ribeiro (2018, p. 126-139) comments on how well received the play was at the time, capable of arousing a lot of sympathy from the public with the sweet and tragic couple. This type of parody wouldn’t have had the impact it had if it weren’t for the positive reception and the original aspects of Euripides' play. Even today, when calling Andromeda a "controversial" play, the intention tends to be more in the realm of debate about what makes something a tragic play in terms of genre. It usually takes into account what Aristotle says in Poetics, which clearly doesn’t fit with what we know about the structure of Andromeda (just as, for example, it doesn’t seem to fit with Helen) and that’s why there is the debate. It's not about having had a troubled reception.

Gibert says (1999-2000, p. 85-86):

This brings us back to genre. Perseus' love is the only target of Aristophanes' parody that might also be called a structural element of Andromeda's, love story. All of his targets, however, would have contributed to the unusual atmosphere and tone of the Euripidean original: the daring use of Echo, the exotic predicament and exaggerated pathos of the exposed maiden, and the arrival of the gallant hero through the air. So would several other elements of the dramatic situation. When they meet, the two principals are young and unattached, and Andromeda is a parthenos, ripe for marriage. A victim of her father's cruelty, she attracts sympathy through her opening scenes, and her savior Perseus appears to have been no less sympathetic a character. He was at any rate acceptable to Andromeda, and this suggests that the audience too will have wanted the couple's marriage plans to succeed. They do succeed, as everyone surely expected all along. Against this background, Perseus' constant love deserves to be called an ethically serious development of the legend's romantic potential. We do not know whether he expounded other motives or was consistently high-minded, nor whether Andromeda felt anything other than gratitude. In treating joyful true love seriously, however, Euripides enlarged the boundaries of the tragic genre.

In the Greek Anthology, an anonymous epigram presents Andromeda rejecting Perseus and he, enraged, petrifying her:

What Perseus would say after slaying the Monster, when Andromeda refused him: The cruel fetters of the rock have turned thy heart to stone, and now let the eye of Medusa turn thy body, too, to stone.

9.479. Translation by W.R. Paton.

This kind of epigram seems to be intended to be humorous by breaking expectations. Audiences familiar with the typical romantic story would be shocked at how messy everything has become. But then again, this kind of thing is only possible because there has been a breaking of expectations, which was only possible because Perseus and Andromeda was already known as a story of love and gratitude. Andromeda's refusal is supposed to surprise, it isn’t supposed to someone see this and think "aha! The real story that had been hidden!"

Conon, in Narrations 40, offers a rationalized version of the myth that doesn’t include a attempt of sacrifice. And yet, curiously, Andromeda's dissatisfaction with the situation imposed upon her is still evident:

The 40th story tells the history of Andromeda quite differently from the myth of the Greeks. Two brothers were born, Kepheus and Phineas, and the kingdom of Kepheus is what is later renamed Phoenicia but at the time was called Ioppa, taking its name from Ioppe the seaside city. And the borders of his realm ran from our sea [the Mediterranean] up to the Arabs who live on the Red Sea. Kepheus has a very fair daughter Andromeda, and Phoinix woos her and so does Phineas the brother of Kepheus. Kepheus decides after much calculation on both sides to give her to Phoinix but, by having the suitor kidnap her, conceal that it was intentional. Andromeda was snatched from a desert islet where she was accustomed to go and sacrifice to Aphrodite. When Phoinix kidnapped her in a ship (which was called Ketos [sea monster], whether by chance or because it had a likeness to the animal), Andromeda began screaming, assuming she was being kidnapped without her father's knowledge, and called for help with groans. Perseus the son of Danae by some daimonic chance was sailing by, and at first sight of the girl, was overcome by pity and love. He destroyed the ship Sea Monster and killed those aboard, who were only surprised, not actually turned to stone. And for the Greeks this became the sea monster of the myth and the people turned to stone by the Gorgon's head. So he makes Andromeda his wife and she sails with Perseus to Greece and they live in Argos where he becomes king.

Translation by Brady Kiesling.

Conon wanted to rationalize the myth, but still keep it with certain known themes and elements (e.g. Perseus rescuing Andromeda and Cepheus still being an ambiguous figure). And it makes you wonder...couldn't Andromeda's unwillingness be one of those elements?

Therefore, I think that, even looking at the logic of the subversions, my already shared opinions remain.

SECONDARY SOURCES

WEST, M.L. The Hesiodic Catalogue of Women: Its Nature, Structure and Origins. Oxford, 1985.

PHILIPS, Kyle. American Journal of Archaeology, Vol. 72, No. 1 (Jan., 1968), pp. 1-23.

BOCHOLIER, Julien. The Ambiguities of Voluntary Self-Sacrifice: the Case of Macaria in Euripides’ Heraclidae. 2020.

LOURENÇO, Frederico. HVMANITAS — Vol. XLV. Tema(s) e Desenvolvimento Temático nos Tesmoforiantes de Aristófanes. 1995. 

RIBEIRO, Wilson. Codex – Revista de Estudos Clássicos, Rio de Janeiro, vol. 6, n. 2, jul.-dez. 2018, pp. 123-15

ODGEN, Daniel. Perseus. Routledge, 2008.

SILVA, Maria de Fátima. PROMETEUS - Ano 15 - Número 43 – setembro - dezembro 2023.

GIBERT, John. Illinois Classical Studies, Vol. 24/25, Euripides and Tragic Theatre in the Late Fifth Century (1999-2000), pp. 75-91.

FARIA, Rui Tavares. Calíope: Presença Clássica | 2023.1 . Ano XL . Número 45 (separata 4). “O herói-viajante em Eurípides: missão, errância, reconhecimento e fuga”

[imarson404]

Is the death note 2015 drama good?

I’d say yeah, actually. It really was! 8, maybe 8.5 out /10.

i have to be real, I seriously loved watching this series, particularly the second half. I’ll do a spoiler free review first, but I do think I need to make it clear that I did not watch this in the conventional way let’s just say. My sibling and I watched this through a nearly 200 video long playlist of 2 minute clips on YouTube, in Japanese (duh) with Portuguese subtitles- note that neither of us speak Portuguese, nor Japanese, and are only vaguely competent in Spanish and French respectively, so my experience of the series may be a little skewed to how it may come off in its original or properly subbed versions. I cannot speak on how the writing was for the dialogue, for example, but I can talk about the plot, characterisation, etc.

if you want to watch any live action adaptation (that’s not the musical, because GO WATCH THAT) it had better be this one.

SPOILER FREE REVIEW STARTS HERE

first off, the changes. Boy were there changes. Practically the entire plot takes a hard left right from the start, and it keeps on going from there. Vague outlines, like Yotsuba and misa and Mikami and yellow box warehouse remain, but the circumstances are all vastly different. i adored the changes to both Watari and L’s relationship, and both of theirs with near and… Mello. I don’t think it really spoils much for me to say that for some reason known by only the writers of that series and god, Mello is made an alter of Near’s that is represented by a ventriloquist dummy. i also will never be the same after this version of soichiro and Light’s relationship. The fact they seem closer yet more distant, and the parentification of light drives a wedge and brings them together at the same time. As much as I LOVE the original version of them, there is something just more utterly devastating about these two here. The mock execution for example ends with light clinging onto his father while they both sob, and I’m not even joking when I say that it brought me to tears.

speaking of parentification, the reason for that is Dead Mom Trauma. Yeah they killed off Sachiko (which I’m not counting as a spoiler because it’s revealed within the first episode and has no plot relevance other than giving light MORE motive). I’m not too sure why this was necessary, and it’s this type of slightly contrived writing that drops its rating a bit for me. This didn’t need to happen

on the topic of light, he is a VERY different character in this. He’s messier, a nervous wreck half the time, smart but not so infallible as anime or manga light. He panics with raye penber, panics with light, IS A MISA MISA FAN and has a job. He has a best friend and a bully. He’s more average, and knows loss, and his decline is less of a sharp drop off than it is a slow painful descent into utter madness and evil. He’s a babygirl until suddenly you see a flashback and realise he’s not that guy anymore

Ryuk is great. An annoying bastard who watches on through the end.

Misa is also pretty good. She’s pretty similar to the source material tbh, but has a little more agency, and has Mikami as her lawyer, or at least the lawyer who told her her parents murderer was going free, which is interesting

speaking of Mikami, he is a secondary character pretty much the whole way through, and we get to see his build up of resentment towards the criminals who go free despite his efforts, which I very much enjoyed. I always felt like he came out of nowhere a bit in the anime, so this was a welcome change.

before I completely move on from light and miss, btw, light and his friend genuinely go to about 5 SEPARATE ICHIGO BERRY CONCERTS OVER THE SPAN OF LIKE 4 EPISODES?? Ichigo berry is misa’s group in this, and I find it hilarious that light was a fan before even the death note showed up

aaaaand for L. He’s really damn good. His characterisation is widely different from the anime, he’s more optimistic and suave in a way, he smiles and lounges in his chair instead of crouching, and wears white button down shirts and trousers and hands Watari clearly empty pieces of paper to which Watari declares ‘another wilful request!’ And goes on to do some task for him. He has a screensaver on every computer in this hotel room designed as task force hq that changes at night to a nighttime version. He's hot. He’s gay. He’s autistic. He’s totally different to the L we all know and love but at the same time is recognisable as L and loveable in his own way. overall, the plot was pretty good although it was very messy to begin with, raye penber is like,, a main antagonist, for the first 3 eps??? The Shinigami cgi is awful, the fashion is painfully mid 2010s and the characters are very clearly not the same as in the original. if you go into it expecting a perfect 1-1 of the anime, just LA, you’re bound to come back disappointed. If you go into it looking forward to seeing an alternate take on the world of death note, another universe where everything is a little to the left, you’ll thoroughly enjoy it. The emotional beats hit hard, and given it’s a tv drama, the story focuses far more on the characters and their emotions than the mind fuckery we’re used to. What does remain, however, is the Lawlight, to such an extreme degree where I find it plausible that they knew what they were doing. They knew that their relationship could come off as romantic, and played it up. now onto the spoilers!

SPOILERY STUFF STARTS HERE!!!

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I LOVE THIS DAMN SHOW ICL

Light killing his bully and trying to erase the names??? Otoharada almost killing Soichiro??? THE CAMERAS STILL BEING THERE WHEN MISA ARRIVES???!!?!!

gahhh where do I even start. I’ve got FEELINGS about L’s death and Soichiro’s, FEELINGS about the dad friendship of Watari and Soichiro, FEELINGS about the lawlight of it all.

My sibling and I are both staunch supporters of both the Good Dad soichiro and Good Dad Watari perspectives, and we were FED. I scrumpt many screams at just how fed we were getting, that’s how good it was. i guess I’ll start with that. The conversation between soichiro and Watari about their ‘kids’ was genuinely moving, and it was adorable to hear them both talk about how much they love their children.

that made it all the more heartbreaking when soichiro died. At that point, L was dead (which I will get to) and near/Mello was on the run, which left Watari utterly alone. The only person using hq at that point was light, who was fully Evil and he knew it. I screamed so loud it started everyone around me when soichiro said Light’s name while he was monologuing. That is EXACTLY how I wanted a confrontation between them to go down. Soichiro seeing through lights acting and lies and being so distraught that it was true, his son was Kira, and it was obvious the whole time when you knew where to be looking. The way he never took his eyes off of him after L’s death, and the way that that allowed him to see all the little glances and ‘that Kira face you make’ as Ryuk put it. He saw under the mask, and was disgusted by what he saw. When he screamed lights name as he tried to weasel his way out of it like he had done for L’s death, I’d like to think it was the first ounce of fear he’d felt since L had died. And of course he denied denied denied right up until Soichiro tried to burn the note, and THAT was when he screamed and fought and begged, not when his father was writing his own name in the note which he had sworn was a fake. He let his father die, but drew the line at the book being burned.

he pried the notebook out of his own father’s dead vice grip.

without a single ounce of a joke, that was my favourite scene in the series. One of my favourites in DN as a whole. As I said in the non-spoiler section, this contrasted with the mock-execution scene is just so devastating, yotsuba!light loved his dad so damn much, and Kira just watched him kill himself, knowing full well he could stop it.

In tandem, L’s death was so underpinned by the friendship between L and Light as well. They don’t just pretend not the despise each other, they genuinely tolerate, or even get along. Of course I could point out the obvious, like the shower scene or ‘I wish we could have met another way’ ‘this is the only way we could have met’ but i actually want to bring up some smaller points. First off, that moment where Matsuda asks him why he still calls L Ryuga instead of L or Ryuzaki, and he tells him that it’s because he’d rather have Ryuga the friend than L the detective. And even just prior to the ‘I wish we could have met…’ scene, when light thinks he’s about to kill L he sobs as he tells him that all he wanted is to show L his new world, and that he wants to be his friend forever (‘friend’ yeah ok dude). He screams and kisses(?) his head when he does die, and rocks him as he lies there, and holds him close until he’s taken away. And L’s final posthumous video. The one where he says, even though he admits the chance that he was wrong and this video needs to be shown is slim, that he was sorry for doubting Light and that he’s glad to be his friend, and that he would be good enough to come and work with him and Near someday. And Light never gets to see that video.

the scene where L comforts near/Mello after his death is so tragic it hurts. Watari is crying, and he hugs near despite the fact that they seemed pretty detached from each other prior. They’ve lost family, and even Wammy’s in this version are allowed to let emotion overcome them.

somethings I wasn’t too big a fan of included:

raye penber being SUCH A MAJOR ANTAGONIST?? why was he a bigger threat than L for so long. Why was his real name actually Mark Dwellam or something. Why didn’t Naomi exist (well I know we got Himura/Lidner but still) why did light take such a big risk instructing him to write the names IN A CAFE?? He almost killed Light. He figured it out before anyone else really, and it’s so ridiculous that this man really did All That.

also, Yostuba was anticlimactic. The whole arc lasted barely an episode and a half, if that, and I really loved this version of mind wiped light and Misa, so that was a real shame. They figured out about Higuchi so quickly it was hilarious. The CGI when light was pricking his finger to write with was glaring obvious and bad, and duh I didn’t expect the actor to actually do it but it broke immersion a bit when this blob of blood looks so clearly edited in. You can really tell he just pressed the side of the needle into his finger and that made me laugh a bit. The good thing about the bad things is at least they’re funny and not just frustrating.

my final major grievance was just with the pacing. I feel like they hit the sweet spot between episodes 8-10 and then fell flat in the last one a bit. It feels pretty rushed but also like it dragged somehow. The first few eps definitely dragged, while the middle section flew by. also, ichigo berry performs the same song every time.

To conclude, this is a totally different show to the original and the characters reflect that. Light is a nervous wreck far longer than he’s the psychopathic god of the new world, and L is a cool guy who eats fruit pouches(?) and tbh they should kiss cos of that. Light as a clearly gay-coded make up designer slayed. Goodnight all.

[seventeenlovesthree]

Digimon Adventure Reboot Sequel AU - Chapter 5: Please Stay As You Are, Okay?

Summary: Under normal circumstances, Taichi would have found Koushirou's rambly and naturally curious nature relaxing. However, talking with him about the concept of the multiverse, universe-hopping and alternate selves while a weird jellyfish in the net threatens the fabric of reality doesn't exactly help his state of dysphoria. He needs to decide if keeping his best friend at arm's length is the correct way to keep him safe, in any universe - or if repeating this pattern will be his downfall...

Chapter list: [Prologue] [0] [1] [2] [3] [4] [5] [6] [7] [8]

Resources: [Concept] [Designs] [First Idea] [Playlist] [Ao3]

Word Count: 2245

In hindsight, Taichi didn’t remember how and when exactly he had arrived at Koushirou’s home, since everything had felt like a freaking fever dream to him. He didn’t even question why they were meeting up at his place and not their usual hide-out, since that was where they usually went into the net from. Fortunately, Taichi knew the way to his home inside-out - since they lived in the same building -, so they didn’t get lost half-way through.

“Are you sure we should do this, Taichi…? You look like you need a break”, Agumon whispered towards him from the side, earning himself a confused look by Tentomon. Taichi just stared absent-mindedly at Koushirou, who sat on the floor, connecting various cables and devices to his main computer. Things hadn’t turned out to be as much of an emergency - again - as it had seemed like when reading his message. 

Taichi’s head felt foggy. He could barely reconstruct the explanation Koushirou had given him prior - something about multiplying jellyfish he couldn’t properly decipher -, so he just tried to keep a straight face.

“Nah, if Koushirou says this is urgent, we gotta do what we can, Agumon”, Taichi replied, as soothingly as he could afford. A part of him still felt guilty for having left Sora behind, not even telling her about the whole thing. If Koushirou had messaged her, he at least didn’t seem surprised to not see her with him…

“Do you believe in the concept of the multiverse, Taichi-san?”, he eventually said, completely detached from the previous conversations. He was not even looking up from his secondary laptop while plugging it into his main device, letting his software search for the correct gate to use.

“What?” Taichi blinked quickly, barely ripped out of his trance, mouth feeling awfully dry. “You mean, like in the movies?”

This time, Koushirou sought his glance - causing Taichi to swallow. ‘Stay in the here and now, don’t slip.’

“It’s more complex than that, but to narrow it down shortly: The multiverse is the hypothetical set of all universes. Together, these universes are presumed to comprise everything that exists: the entirety of space, time, matter, energy, information, and the physical laws and constants that describe them.”

Hearing Koushirou ramble under any other circumstances would have been another source of relaxation for Taichi - but in in this very moment, he had a very hard time following him at all. He didn’t seem to take too much note and just kept on explaining:

“The different universes within the multiverse have several names, such as ‘parallel universes’, ‘alternate universes’, ‘parent and child universes’, et cetera. In general, you could say it’s a hypothetical space or realm consisting of a number of universes, of which our own universe is only one possibility.”

“Uh…” Taichi shook his head repeatedly, collecting his thoughts. “Do the Digital World and the other worlds we can travel to count as universes too?”

Having Taichi indulge him in his own curiosity obviously delighted Koushirou, as his eyes lit up some more while continuing: “Like the word ‘world’ already suggests, they’re more like parallel worlds and not universes. It’s similar in concept, but since we can jump between these worlds without disrupting the flow of events, it’s not the same.”

“So you’re saying”, Taichi’s head was still spinning, trying to make sense of what he just heard, “If we were gate-hopping to a parallel universe instead of a parallel world, we would ‘disrupt the flow of events’? As in… Changing the fate of the world?”

Koushirou was basically beaming at him at this point - and Taichi couldn’t help but smile at that sight.

“Like a butterfly effect, exactly! If we mingled with what’s happening in a parallel universe, the consequences might be devastating. And my theory is that this… Whatever it is, a bug, a jellyfish or an actual Digimon, may have come from a different universe, since my system cannot read its data at all. Which is why it messes with our electronics in the way it does - even if it only had a minor impact so far. If it mingled within our universe for too long… Who knows what will happen.”

“It may change the fabric of reality!”, Tentomon added for grand emphasis. “Like changing our evolution lines indefinitely - imagine I’d never turn into Kabuterimon in another universe! Scary! Maybe I’d turn into Greymon instead!”

“That’d be weird!”, Agumon exclaimed - and the smile slowly vanished from Taichi’s lips. 

“S-so it’s a good thing we can just hop between worlds and not universes then…”, he said nonchalantly. And a part of him desperately hoped they would change the topic soon. Heck, Taichi would have preferred to just jump into the net and go for the attack if it meant not delving deeper into it. 

Koushirou didn’t grant him that favour though. He was in way too deep already, Taichi could tell.

“Actually, if all of this is proof of the existence of other universes, I would like to know if it was possible for us to travel to them! Of course we cannot influence anything under any circumstances. Imagine meeting another version of yourself, mingling with their business and influencing their goals, values or just simply their train of thought… It may change their actions entirely…” He paused for a few seconds. “Either way, I’d like to observe it for a while.”

“Sure you would.” Taichi’s voice was trembling and it took all his might to ignore the nausea that had just begun spreading in his stomach. 

“You would too if you knew another universe was in danger… Or rather, your other self in another universe… Wouldn’t you?”

Koushirou’s sudden tone change activated his flight instinct in an instant. Not only did it resemble Sora’s way too much, but… The word choice was immensely alarming. 

“That’s all just hypothetical stuff, Kou”, Taichi replied, colder than intended - thus he used Koushirou’s nickname to soften the blow a little. 

“O-of course, but…”

There it was again - despite getting himself into ramble mode as confidently as he did, despite his unshaken thirst for knowledge, Koushirou could easily get disheartened and timid if somebody was not on the same page as himself. 

Your other self in another universe… 

Even though he tried to resist it, the vision of “the other Koushirou” forced itself into his mind.

A version of Koushirou that seemed more… Collected. They were positively similar in how committed they were to whatever subject they had set their minds to. Curious, studious to the core. But the Koushirou from the other side - the other universe, probably - felt more… Confident, wise beyond his years and even more hands-on than he would describe the Koushirou he was familiar with. Maybe more tired too…

Just like with Sora though, there was a distance Taichi couldn’t deny.

He was able to tell they were close - they were still best friends, he was certain! 

But… In a way, he felt like the other Taichi used to put him on a pedestal. Impressed, if not intimidated. And thus, automatically, kept him at arm’s length. Maybe that was why the other Koushirou seemed so much more vocal too - felt like he had to put his foot down, get more frustrated, yes, even more angry with him. 

Taichi couldn’t stand the thought of that. It sure was nice to know there was the possibility of a Koushirou out there that was more assertive - just like Taichi had always tried to nudge him towards. But at what cost…? 

“Why won’t you ever let me fight, too?!”

“I’ve watched you at your side all these years, isn’t that right?!”

“But I thought you could at least speak honestly with me!”

Did his other self think that Koushirou deserved better? A better friend than he was? It seemed so absurd, so self-destructive to him. Was it really just exactly the same situation as with Sora?! Since he had always felt drawn to Koushirou, liked to be able to chat about silly stuff like multiverses with him. Casually, openly, closely… 

“Let me guess”, Taichi said, feeling sweat forming on his forehead in addition to the slight nausea, lips pressed into a smile, “You talked to Sora and Mimi-chan about this too? What’s with that worried face there?”

Furrowed brows, tense lips, the same look of concern Taichi had seen not even a mere hour ago…

Then, with unexpected bravery, Koushirou leaned forward, steadfast in both glance and voice:

“Would you tell me if you had traveled to another universe? Even if it was just by accident?”

Taichi couldn’t do anything but to stare at him.

“Koushirou, what are you-”

“Would you tell me about what you saw, about your other self?”

The way he had phrased this - and basically everything before that - led Taichi to believe that Koushirou understood. As if he knew exactly what was going on. Like he always knew everything. Maybe that was the reason why the other Taichi kept Koushirou at a distance after all… So he wouldn’t pull him into doom with himself, causing his curiosity to eventually become his own downfall. 

“I don’t know, what do you think my other self would be like?”

“Taichi-san…” As invested as Koushirou could be in his hyperfocus topics without noticing his surroundings anymore, Taichi was aware that he had been caught left-handed by him. “Genuinely speaking, I’d be afraid he’d do something reckless…”

“Very hypothetical.”

Koushirou knew that he was deflecting - just like Taichi knew that this strategy wouldn’t work this time. What if Mimi and Sora had known it too? What if they had looked through him all along and he was the one trapped in a nightmare he couldn’t escape from, no matter what he did?

“I just… Want to make sure you’re not there on your own.”

“I wouldn’t be. I’d have the other Koushirou by my side, right?”

He said it with all the gentleness he had left to gather. And despite everything… Taichi really hoped it was true. He could see the fondness in Koushrou’s eyes there. In both of them. The wish to be there for him, it was like that with him too. 

“... Then, what do you think my other me would be like?”

Whether or not it was another hypothetical question, Taichi simply couldn’t help himself, all doom and gloom aside; he would never grow tired of his Koushirou’s curious self.

“Maybe he’d start his own company at 16, who knows?” The shocked glimmer in Koushirou’s eyes at least gave Taichi a reason to smile again. “And, yeah, maybe he’d scold me for doing reckless things… No worries though, I’d prefer you any day anyway.”

A faint blush started to form across his friend’s cheeks - and Taichi absolutely meant it. The other Koushirou had probably just become better at hiding his insecurities, most likely because he thought that he had to. And the sheer idea to be partly responsible for that sickened him deeply. 

“Really… Please stay as you are, okay? You’re perfectly amazing the way you are right now, Kou.”

It was here that Taichi decided that he had reached a dead end. Even if he had sworn to himself to protect them all by keeping them out of his business… He couldn’t. 

He was tired. So tremendously tired of it and not nearly as strong as he wished he could be.  If he really didn’t want mess up again - he couldn’t repeat the same mistakes as his other self.

Pushing Sora away had made Taichi feel incredibly lonely already - doing the same with Koushirou now would only make it worse. The deflecting, lying to Mimi, Jyou, Takeru… Even Agumon, his own partner, who, just like Sora and Koushirou, had only wished for him to open up and be honest. 

‘I cannot lose them… I simply can’t…’ 

The deafening sound of static pulled all their attention towards the screens again. Too lost in his own inner monologue, Taichi was violently reminded of why they had come here in the first place.

Once the static stopped, various windows popped up on both screens, text racing across them in various languages:

「ゲームをしたい？」 „Möchtest du ein Spiel spielen?“ “Wil je een spelletje spelen?” “Do you want to play a game?”

“What does that mean?”, Tentomon asked, looking to his partner for an answer.

“Ah… Looks like it wasn’t my algorithm that located it… It located us instead”, he gasped, sounding terrified.

“Really?!”, Taichi and Agumon said in unison while Koushirou typed away furiously.

“This does mean that I can pinpoint its exact location though, give me a minute… I’m gonna send the coordinates to Yamato-san and the others as well once I got them. If this is as serious as I think it is, we may need a miracle...”

The mention Yamato’s name was both, the equivalent of someone slapping Taichi in the face - and a sign. Even if he couldn’t have put it into words if he had tried. Maybe that was exactly the kind of miracle he personally needed.

~

Little did they know that the same phenomenon had appeared all over Japan, a symphony of flashing, everywhere from Tokyo to Shimane. Suddenly, in Shibuya, the 104 Tower lit up with a single large eye - and then, everything ceased.

[k00318429]

Colour Theory/Painting workshop

Today I took part the colour/tint/tone painting workshop. I wanted to try out some self portraits because I plan on doing some witchy ones soon. I used a mirror as I was my own primary source, and drew directly from what I saw in front of me. The class began with drawing out some quick thumbnails - I drew my face from the front and 3/4 side view.

To be honest I found it difficult to draw and paint from life like this. I’m used to using reference photos but I’m trying to improve on my life drawing.

After the thumbnails, everyone drew up a rough sketch of their first painting onto card. This painting was done using only black, white and greyscale. We had to work quickly and I found that I didn’t work well under the time pressure. I HATE how my black and white painting came out and was getting pretty frustrated while doing it because it was so inaccurate.

Following the black and white paintings, we were taught a bit about colour theory. Complimentary colours:

-Red & green

-Blue and orange

-Yellow and purple

Then we each created a grid with primary and secondary colours. I mixed complimentary colours with each other to see the difference in values. Finally we had to recreate our first painting using only two complimentary colours, so I chose blue and orange. Mixing these colours was weird because the colours can become mucky really easily. Because of this I tried to use as much pure blue/ pure orange as I could without the need for mixing them too much. While I also dislike the second painting, I prefer it to the first one. Although neither of them came out how I wanted, it was beneficial to have some practice with colour theory. Hopefully when I go back and try more self portraits later it will look better🫠

[rion-writes]

Ohhh magnar?? For wip game

This fic is the one I am the most upset I haven't completed yet.

Fall 2014 where we still through Winds of Winter would come out within the decade. My best friend 5eva and I took a roadtrip through the Pacific Northwest and hashed out the entire plot points for this story. I bounced all my ideas off them and worked down to the nitty gritty about making everything canon compliant.

Things that happened in my life that pretty much wrecked me from any sort of fun fandom experience for 4-5 years made any staggered updates on this fic nil to poor. I also found that due to both source materials I could only work on this during fall/winter lmfao.

By the weirdest sort of coincidence that same BFF 5 eva finally picked up rewatching GOT and the terrible, awful, no good, very bad fanfic seasons and conclusion. We're talking about it again.

and it's fall/winter.

-

Magnar is a Hannibal fanfiction set in ASOIAF. By set I mean pretty much every event that is happening in canon is happening in the background of this story, without actually seeing any of the 'main' ASOIAF characters. Most little folk and knights don't after all, but a few tertiary and secondary characters get a line or two to move the plots along.

Ser Jack Crawford, under the banner of King Stannis Baratheon, is sent to Skagos with his men including Bravosi sellsword Beverly Katz and houndsman Will Graham. Besides establishing King Stannis' presence on the island and the North itself they're escorting Maester Price and his Acolyte Zeller to work for the 'civilized' North at the request of the Citadel.

Namely, the portion of the island controlled by the Vergers and gifted to them for their service to the Targaryen throne. They claim to have roots in Old Valeria.

What concerns Ser Jack Crawford more than the legitimacy of the Vergers is the whispers going around the taverns and trading stalls-

That the Ripper of the Narrow Sea had made berth from Skagos.

-

Magnar (9437 words) by Rionarch Chapters: 3/? Fandom: Hannibal (TV), A Song of Ice and Fire & Related Fandoms Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings, Graphic Depictions Of Violence Relationships: Will Graham/Hannibal Lecter, Alana Bloom/Margot Verger Characters: Will Graham, Hannibal Lecter, Abigail Hobbs, Jack Crawford, Beverly Katz, Alana Bloom, Margot Verger, Baratheons (ASoIaF) Additional Tags: War of the Five Kings, Wargs & Warging (A Song of Ice and Fire), Greenseers & Greensight (A Song of Ice and Fire), Cannibalism Summary: As King Stannis Baratheon makes his play to protect the realm and solidify Northern support at the Wall, he sends his landed knight Ser Jack Crawford to treat with the lest vestiges of a Valyrian House, the Vergers, on Skagos. Magnar Hannibal Lector has other ideas he'd rather entertain.

I have a few chapters already up. Have a snippet of the next one.

-

“Oh, do beg my pardon. I didn’t mean to startle any of you. I simply thought that if a caravan as well armed as yourselves was going to the castle it might be just the right time to go myself.” Flame red hair and sharp cheek bones might have done something to hide her if the verdant purple shawl hadn’t been the mainstay of the whorehouses in King’s Landing.  Lady Margot scoffed but Beverly wasn’t as sure. 

“I’ve seen you outside of Muskrat Holdfast. What’s your business with the Magnar?” Ser Jack cut her off and looked less amused by the minute.

“What does a whore have to do with the following of King Baratheon’s men?” Her smile was more stoic. 

“Well I’d certainly done enough in his late Majesty’s Baratheon service. I’m just a woman who looks out for other little deers and their interests. If you must know there’s a certain someone at the castle who I have to look after.”

[pinkkop]

An Overview of Our Trip

Thailand trip

So me and Asta just got back from our trip to Thailand and in case other people were interested in or planning on travelling to Thailand, I wanted to share my experience and some advice from our trip.

I’ll split this into four posts:

1. An overview and my general advice for visiting Thailand (this post)

A deeper look at our trip and my thoughts about it with more specific advice, split into 3 sections:

2. Road trip of the Mae Hong Son Loop

3. Chiang Mai

4. Bangkok and Ayutthaya (coming soon)

So here's the overview!

What did we do?

We started out in Chiang Mai where we rented a car and did a road trip of the Mae Hong Son loop for about 6 days and ended up back in Chiang Mai (the article which inspired us to do this is here). After, we stayed in Chiang Mai for half a week, exploring the city and doing small excursions out of the city. We then took a sleeper train to Ayutthaya where we stayed a day and a night and then took the train further south to Bangkok, where we stayed for another half week and then flew back home from there.

In total our trip was just over two weeks.

Snap shot from our road trip.

When did we go?

We went at the end of January and beginning of February. This meant we left Chiang Mai before the burning season started and outside the rainy season which starts not long after the burning season ends and ends usually around October. It very much seemed to be the end of the season in Chiang Mai so I wouldn’t go much later in the spring.

Note: The burning season is when they burn off all their fields, usually from February to April which results in horrible air quality and visibility in Chiang Mai.

The two events that we planned our trip around were the Chiang Mai Flower Festival and the Chinese New Year.

Chinese New Year in Chinatown, Bangkok.

Where did we stay?

We stayed in a mix of hotels and airbnbs, which I think was a good choice. I think specifically on the road trip it was a good choice to stay in airbnbs. I’ll leave links to any of the places we stayed at that I’d recommend on the more detailed posts.

View of Doi Inthanon (tallest mountain in Thailand) from our Airbnb.

Favourite part of the trip?

The road trip was definitely my favourite part since it gave us the chance to explore Thailand on our own and go places off the beaten path. Most of the places we went didn’t have lot of tourists which meant we were just foreigners to the locals and not only a source of income. This made our experience of Thailand and Thai culture feel more genuine and not just an edited version created for tourists to consume.   

  Local festival in Mae Hong Son.

Advice for anyone travelling to Thailand

Always carry these things with you:

- Passport

Both to make sure you don’t lose it but also because you never know when you’ll need ID.

- Paper towels

Toilet paper isn’t widely used so it's useful to always have some on your person.

- Hand sanitizer and/or soap

Similar to toilet paper, there’s not always soap or even a sink when you go to the bathroom, so having hand sanitizer, at the minimum, is a lifesaver. We had both hand sanitizer and these soap leaves which was great because we could use either of them depending on the situation, and both didn’t take up a lot of space.

- Cash

We paid almost entirely in cash and only encountered problems with doing so once in a mall in Bangkok, while when we ran out of cash we realised how many places didn't accept credit cards.

It’s a good idea to bring both baht and a second currency which you can exchange to baht if you run out. Most banks will do that for you, just research which secondary currency would work best for you and remember your passport when going to the bank. We had dollars and euros because we’d be able to use those later on after the trip, that way we were guaranteed to not end up with a bunch of baht left over at the end of the trip if we guessed wrong on the amount of cash we needed for the trip.

General advice

- Learn the bare minimum of Thai.

A lot of people in Thailand don't speak English so it’s useful to know how to say:

"Hello", "Thank you", "Where’s the bathroom?", "Can you make it not spicy", counting to 5 and how to order, even in a very simple way.

- You can get a long way by pointing, saying singular words, using google translate or showing pictures on your phone.

- Don't trust open hours but it's a good idea to look them up.

Open hours aren’t always fixed, unless it’s McDonald's or a fancy department store, so don’t always trust what the internet says.

Some places close really early though, like a restaurant at 6 pm, so it’s still good to check when a place is said to be open.

- If you buy more expensive items during your trip, make sure to ask for a VAT form. This way you can get the tax money back at the airport.

Cultural/Religious advice

- Bring appropriate but light clothes!

When visiting temples and some historic sites you have to be dressed decently, otherwise they might not let you in. This usually means cover your knees and shoulders.

We wore a lot of below knee dresses with short sleeves because of this, but you can also pack some super light pants and a t-shirt so you can put them on before entering.

- Remember to take off your shoes

This counts for certain places in temples and places where you’d sit on the floor/ground, usually to eat.

I got yelled at for the second one at a market where they had a raised eating area.

There are often signs but also just look out for shoes by steps or staircase and keep an eye out for what other people do.

- In temples, stay below the level of the Buddha statues and if you can, and other local people are, stay below the monk present.

Often the Buddha statues will be up high enough that you don’t have to sit on the ground but if you’re in a room where you’ve taken your shoes off and other local people are sitting on the ground, especially if they aren’t actively praying, you should probably sit on the ground as well. You can still take pictures and enjoy the splendour of whatever temple you’re in, from the ground.

You probably won’t be yelled at for this one but it’s always good to be respectful.

Advice about mosquitoes and insects

Mosquito remedies: Bring good mosquito repellent and especially something to relieve the itchiness afterwards.

Malaria: If you’re going outside bigger cities and especially if you’re going to more rural places, you should probably consider getting

Malaria medicine: For malaria we had to take pills every day at a certain time and keep doing so a week after we left Chiang Mai.

Mosquito net: If you’re staying in a place with a mosquito net, set it up before it gets dark if you can. That way you’re more likely to not have accidentally trapped a mosquito or other insect inside the net.

Other bites: If you start getting bites that behave differently to mosquito bites, try and figure out what they are before you leave the place where you started getting them and especially before you leave for home. I believe the bed I slept in at our last airbnb had bed bugs which is really not anything you want to bring home, so figuring out which precautions to take is useful.

Hope this was useful and let me know if you have any questions!!

[musclesandhammering]

I know this meta is a year old and you said you weren’t engaging with the conversation anymore, so feel free to ignore this.

I always feel so bad when someone casually makes a pretty valid point on here and then two or three other people from another section of the fandom respond in disagreement at the same time and it feels like you’ve got an angry crowd booing and throwing tomatoes at you 😭

You’re right though. A lot of us get a bit defensive over certain aspects of a character we feel strongly about, in reference to other people having different opinions (like the last name thing or the Thanos torture thing or the anti series thing) and we forget that it’s a fictional show meant to be interpreted differently by everyone and at the end of the day, it truly isn’t that serious.

That’s not to say that writing critical meta about stuff that bugs you is bad. Considering I’m basically a professional anti, I’m all for pointing out the flaws in other people’s arguments as a hobby, lol. But sometimes we don’t realise how unfriendly we’re coming across.

Anyway, you’re right about the name thing I think. If they’re going to make the argument that we shouldn’t call him Laufeyson because he never refers to himself as that, then we can make the same argument about calling him Odinson. Because as far as I recall, the only time he ever called himself that was when he was about to die and used it to send a message of reconciliation to his brother. But never casually, never naturally. The only way he ever introduces himself is “Loki Of Asgard”, as was mentioned upthread.

That being said, by that logic, anyone who calls him Laufeyson or Odinson or Friggason is disrespecting his wishes. If you subscribe to that very narrow line of thought. But really, it’s not that black and white. Not just because, like you said, as a fictional character, Loki doesn’t care what fans in the real world call him. But also because Loki introducing himself a certain way doesn’t mean he has a problem with other people addressing him other ways.

Yes, he rarely uses any last names himself, but there’s also multiple points throughout the mcu where he shows no discomfort with others referring to him as Laufeyson. We do see several times where he’s annoyed at being called Odinson, though. Because my interpretation is that, at the core of it, it has absolutely nothing to do with Laufey. It’s all about acknowledgement.

I think Loki would be equally as ok (or even more ok imo) with being called Laufeyson than Odinson, because:

a.) Loki’s main source of grief throughout 4 movies wasn’t necessarily what his family did to him, but how they refused to own up to it. In every single movie, he begged them to just admit that they had done wrong too and that he had a right to be upset, and what did they do? Odin gave him excuses, Frigga gaslit him and tried to sweep it under the rug, and Thor outright said he was imagining things. They constantly act like Loki’s feelings are unreasonable and they wish he’d just go back to how he was before. By being called Laufeyson, that in itself is a refusal to ignore what happened. The name itself is an acknowledgment that Odin and Frigga lied to him, that he dealt with covert racism growing up, that he’s a victim of imperialism, that he had a breakdown because of these things. It’s him acknowledging that a major change occurred in him as a person and he’s not gonna let his family just pretend it didn’t happen. It’s him refusing to be gaslit.

b.) Accepting a name other than the one his adoptive family goes by is almost like him setting a boundary- drawing a line and enforcing a little gap of distance between himself and the people who were toxic to him. He is someone who’s been in the shadow of his brother and father his entire life, he’s always felt secondary, he’s never fully had anything of his own. This is him claiming an identity that’s purely his, one that has nothing to do with the people he’s been overshadowed by for so long.

c.) As tenuous and reluctant as it is, him not being opposed to being called Laufeyson illustrates that he’s at least somewhat come to terms with his race and parentage. I don’t think he’s celebrating it per se, but he’s certainly gotten to the point where it has no good or bad connotations, it’s just something that is. His eyes are blue, he’s tall, he’s jotun.

d.) In the context of movies!Loki, from the end of TDW onward, when he’s posing as Odin, him calling his “dead” son both Odinson and Laufeyson intermittently would easily serve the purpose of desensitising the Asgardians to Loki’s heritage. That way, when he eventually did have to give up the ruse, he wouldn’t have to deal with their shock and the shock leading to rejection. He was doing preemptive damage control knowing that he wouldn’t be able to hide this secret forever.

This got really long, but my point is that no one is wrong for having different opinions and my opinions is that Loki Laufeyson is better than Loki Odinson- both symbolically, and because it rolls off the tongue better. Lol.

Controversial opinion, but can we, as a fandom, stop referring to Loki as Laufeyson

[jackarthurdavenport]

Some of my lovely friends asked to show how I do my blending, so here is a very long tutorial! I will explain how to:

Blend GIFs with lots of movement

Blend three or more GIFs on one canvas

You will need:

Any version of Photoshop with a timeline

Basic-intermediate knowledge of GIF making (including cropping, how to use adjustment layers for color correction, applying layer masks, and placing multiple GIFs on one canvas)

Since the way I blend depends on the footage I'm able to work with, I often end up going in a different direction than I first planned. So this isn't a strict step-by-step guide that can be applied to everything you make. These are just some tips!

Read the rest under the cut.

TERMINOLOGY:

(Pretty sure you already know this but I will be repeating these a lot here, so just in case!)

Highlights & Shadows - The highlights are the brightest parts of the image. The shadows are the darkest parts. Remember that just because it's bright doesn't mean it's actually white, and just because it's dark doesn't mean it's actually black!

Negative Space - This refers to empty space around your subject. When there's negative space, it's easier to spot the focal point of the image.

BLENDING GIFS WITH LOTS OF MOVEMENT

Number of GIFs: 2 Main GIF: Closeup of Sam (“big!Sam”) Secondary GIF: Sam flying (“flying!Sam”)

STEP 1: Find the right scenes Since the subject of the secondary GIF is much smaller and basically cuts across the frame, it’s important (but not always essential!) that the main GIF has less movement and a decent amount of negative space.

STEP 2: Make your individual GIFs Make your GIFs like how you usually do (Important: Remember that your GIFs need to have the same number of frames). When it’s time to crop, it’s best to have the two files opened in Photoshop at the same time so you can compare them against each other. It’s absolutely fine for them to overlap because that’s the whole point! The secondary GIF has Sam flying in from the top left to the bottom right, so I cropped the main GIF with him off-center so there would be space to see flying!Sam.

Now we have these two GIFs:

STEP 3: Combine your GIFs Place the secondary GIF over the main one and adjust the blend mode. Setting the blend mode to Screen usually works, but in this case, this is how it looks:

As you can see, the highlights in the main GIF are obscuring flying!Sam in the first frames. You can only see him clearly when he’s flying over big!Sam’s face. This is because the shadows on the top GIF will lighten and/or disappear against the highlights of the bottom GIF when set to Screen. It would be too complicated to fix this with a brush (which we will get to later) because of the movement in the secondary GIF, so instead I set the blending mode to Multiply, which is the opposite of Screen. Now here is the GIF:

We can now see flying!Sam. But the blue of the sky is now a pseudo-filter over big!Sam’s face up until the last frames. So I applied a Hue/Saturation adjustment layer over the secondary GIF to remove those colors. The sky in the GIF is made up of cyans and blues, so I dragged those sliders down to -100. Here is how it looks now:

STEP 4: Erase the bits you don’t want So that big!Sam’s face isn’t covered by flying!Sam’s wings and that pesky airplane up top, we have to use a brush to erase those parts. In the Layers panel, make sure your GIF layers (in this case, groups/folders) are selected and click the Add Layer Mask button. A little rectangle next to the layer/group name will show up like so:

Then in the Tools panel, click the Brush tool, pick a soft brush and set the size to around 180-210px. The larger the brush, the softer the look. I learned this from Becca (@inejz-ghafa) who made an amazing tutorial a while back (will link it in the source at the bottom)! Adjust the brush size if you have to.

Now click on the little rectangle layer mask of the group you want to erase (in this case, the secondary GIF). When you do this, the Foreground and Background Colors buttons in the Tools panel will revert to the default black and white.

Painting with black will erase and painting with white will undo the erasure. So I erased the airplane and the bits of the wings covering his face. I didn’t erase the parts that overlap with his uniform, just to keep the effect of flying!Sam zooming across the GIF. And here is our finished product:

BLENDING THREE OR MORE GIFS ON ONE CANVAS

We will be working with these two GIFs since they use different techniques:

STEP 1: Compose your image Find the scenes you want to put in your GIF and choose which of those is the most important. Once you've decided on that, you can build the rest of the elements around it.

Sam's GIF: Multiple Exposure Effect

Number of GIFs: 3 Main GIF: Bloodied shield Secondary GIF: Closeup of Sam Tertiary GIF: Bucky with the shield

STEP 2: Make your individual GIFs Since the shield is the most important part, I made it the largest GIF and cropped it close to emphasize the star and the blood. I made Sam's GIF the same size, but cropped it with his face off-center so that the star wouldn't completely cover his face. Again, it's totally fine for the images to overlap! The tertiary GIF is the least important so I cropped it smaller. To determine the size of that GIF compared to the shield, I made the Rulers visible (View > Rulers; or Ctrl+R) then clicked the top ruler and dragged down to create a guide to where I wanted the smaller GIF to end. Then I measured from the bottom of the GIF up to the guide to determine the height of the smaller GIF. (Tip: It's better to make the tertiary GIF too large than too small. That way, you have more to work with. So size it larger than it will appear on the final GIF.)

This is only a stylistic choice for this particular set, but I removed the blue from the shield and set the tertiary GIF to black and white, so that the only notable colors in the GIF are red, black and white. Varying up the coloring of each GIF (i.e. color vs. monochrome) adds some spice to the image, so play around with these different styles if you like!

Here are our three GIFs:

STEP 3: Combine your GIFs At first, I made the main GIF of the shield the bottom GIF. Then I placed the secondary GIF over it and set the blend mode to Screen, but found that it lacked depth. So I switched them and made the Sam GIF the bottom GIF (blend mode: Pass Through) and placed the shield GIF (blend mode: Screen) over it. And this is what I got:

Notice how the window behind Sam on the left side is distracting? It also partially obscures the star. So I went back to Sam’s GIF, created a New Layer and painted over the window with a black brush. Now here is our GIF:

This is just my personal preference, but I wanted the area around the star to be a solid black rather than gray, so this time I created a New Layer over the shield GIF and applied a layer of black with the Paint Bucket tool, setting the blend mode to Soft Light. Now we’re done with the main and secondary GIFs:

Now let’s add the last GIF:

STEP 4: Erase the bits you don’t want Lastly, I erased the warehouse rafters over Sam’s face and a bit of his shirt and the warehouse floor on the bottom right corner using Layer Masks and a soft brush (like in the first tutorial). And we’re done!

Bucky's GIF: Silhouette Effect

Number of GIFs: 3 Main GIF: Bucky holding the notebook Secondary GIF: View of the sunrise from the boat Tertiary GIF: Sam and Bucky walking away

STEP 2: Make your individual GIFs To achieve this silhouette effect, the main GIF needs to have a clear focal point, which means it’s better to have negative space around the subject and for there to be minimal movement. In this case, the subject is made up of Bucky’s hands, notebook, and part of his shirt; and there’s some movement but we can still work with that. The other two GIFs will then be placed “inside” the subject. Because the negative space in the main GIF consists of highlights, I chose a secondary GIF which emphasized the shadows. For the smallest GIF, I used a guide like in the previous tutorial to measure its size.

We have these three GIFs:

STEP 3: Combine your GIFs Place the secondary GIF over the main one. In my case, I didn’t measure it right so I had to nudge the top GIF a bit to the right to fit it inside the silhouette. The important thing is that the edge of the secondary GIF should not overlap with the silhouette itself, or else the illusion “breaks.”

Now let’s add the third GIF:

STEP 4: Erase the bits you don’t want For this GIF, there’s a lot we need to erase! Using Layer Masks and a soft brush again, erase the parts of the secondary GIF that extend beyond the silhouette. It’s entirely based on personal preference if you want to keep some parts of the secondary GIF outside the silhouette (like I did here) or if you want them completely removed. And for the small GIF, erase the edges for it to blend with the secondary GIF while also staying within the silhouette of the main one.

Now here is our finished GIF:

And that’s it! If you’ve made it this far, thank you for reading. I hope this was useful! Remember, there is no definitive way to blend GIFs, so keep experimenting. And don’t be afraid to make mistakes either, because we learn a lot from those. Happy Photoshop-ing!

- Elle

[lokiondisneyplus]

Yes, Loki series director Kate Herron knows about your fan theory about the show, the analysis you posted to social media. No, she won’t tell you what she thinks about it, or whether you were right.

“I follow all the conversations on Twitter,” Herron told Polygon in an interview shortly after Loki’s season 1 finale. “I don’t always weigh in on them, because I made the show, so they don’t want me weighing in like, ‘Actually, guys…’ I think that’s the whole point of art — it should be up for debate and discussion.”

[Ed. note: Spoilers ahead for season 1 of Loki.]

Loki has been a hit for streaming service Disney Plus — episode 6 of the show, the final installment for this season, was reportedly watched by more households than any of the platform’s MCU finales to date. The series has been a popular source of fan conjecture and argument, with one particularly big rolling conversation focusing on whether the budding romantic relationship between trickster Asgardian Loki (Tom Hiddleston) and his alternate-universe counterpart Sylvie (Sophia Di Martino) is a form of incest.

Herron is willing to speak up about that one. “My interpretation of it is that they’re both Lokis, but they aren’t the same person,” she says. “I don’t see them as being like brother and sister. They have completely different backgrounds […] and I think that’s really important to her character. They sort of have the same role in terms of the universe and destiny, but they won’t make the same decisions.”

Herron says thematically, Loki falling for Sylvie is an exploration of “self-love,” but only in the sense that it’s Loki learning to understand his own motives and integrity. “[The show is] looking at the self and asking ‘What makes us us?’” Herron says. “I mean, look at all the Lokis across the show, they’re all completely different. I think there’s something beautiful about his romantic relationship with Sylvie, but they’re not interchangeable.”

Directing the final kiss between the two characters was a complicated process because it had to communicate something about each of them over the course of just a few seconds. Herron says the primary goal was creating a safe, comfortable environment for Hiddleston and Di Martino, and after that, she had to think about how to bring across Loki and Sylvie’s conflicting goals in that moment.

“It’s an interesting one, right?” she says. “Emotionally, from Sylvie’s perspective, I think it’s a goodbye. But it’s still a buildup of all these feelings. They’ve both grown through each other over the last few episodes. It was important to me that it didn’t feel like a trick, like she was deceiving him. She is obviously doing that, on one hand, but I don’t feel the kiss is any less genuine. I think she’s in a bad place, but her feelings are true.”

Herron says directing Hiddleston in the scene mostly came down to discussing the speech Loki gives Sylvie before the kiss. “That was really important, showing this new place for Loki,” Herron says. “In the first episode, he’s like, ‘I want the throne, I want to rule,’ and by episode 6, he isn’t focused on that selfish want. He just wants her to be okay.”

Loki writer and producer Eric Martin recently tweeted that he wished the show had been able to focus more time on two of its secondary characters, Owen Wilson’s Time Variance Authority agent Mobius M. Mobius, and Gugu Mbatha-Raw’s Ravonna Renslayer. “I wanted to explore her more deeply and really see their relationship,” he says, “But covid got in the way and we just didn’t have time.”

Asked if Loki and Sylvie’s relationship suffered from similar necessary edits, Herron says it’s true that the show’s creators and audience still don’t know everything Sylvie went through to make her so different from the Marvel Cinematic Universe’s original version of Loki. “We’ve seen her as a child, but she’s lived for thousands and thousands of years, in apocalypses on the run,” she says. “I think there’s so much more to delve into with Sylvie […] You’re filling in the blanks. You see [her on the planet] Lamentis, and it’s horrific. And you’re like, “Well, what kind of person would she be, growing up in apocalypses? What kind of personality would that give her?”

Herron says Sylvie’s backstory actually reminds her of the 1995 movie Jumanji, where a young boy is sucked into a magical board game in 1969, and emerges 26 years later as a full-grown man, played by with typical manic energy by Robin Williams. “It’s such a weird reference, but…” she says. “He’s a little boy when he ends up captive in that game, and when he comes out, it’s obviously been a life experience. With Sylvie, it’s similar. She was a child when she had to go on the run, so she’s had a very difficult life. I would love to see more of it. As Eric said, she’s a rich character, there’s so much to be explored.”

Herron says, though, that during her time on the show, material about Sylvie was added rather than cut — specifically, those scenes of her as a child, being kidnapped by the TVA. “This was before my time, but I know in the writers’ room, there were lots of avenues exploring Sylvie on the run and what her life was like,” Herron says. “I wouldn’t want to speak more to those, because I wasn’t there when they were being discussed. But something wasn’t in there that was important to me — I felt we should see her [history] in the TVA. Me and the team were talking about how it made complete sense, because episode 4 is all about twisting the idea that the TVA might be good on its head. And so that’s something that came in later, once I joined, was seeing her as a child. I think we needed to see that, not to understand her completely, but to get an idea of her motivations, why she’s so angry at this place.”

Talking more broadly about the series finale, Herron says the last few episodes weren’t as heavily referential as the first episodes, which she intended as “a love letter to sci-fi.” While early images like the TVA’s interrogation rooms had specific visual references from past science fiction, episode 6’s locations were drawn more from collaborations with the crew.

“The idea of the physical timeline being circular, our storyboard artists came up with that,” Herron says. “I had in the scripts, ‘We move through space to the end of time,” and then me and [storyboard artist Darrin Denlinger] discussed how we could play with the idea of time, while also adding MCU nods. He was like, ‘What if the timeline is circular?’ I think that’s such a striking image, like the Citadel at the End of Time is the needle on a record player. I just thought that was such a cool image, but it wasn’t necessarily taken from anything.”

Episode 6 focuses heavily on the mysterious figure He Who Remains and his citadel, a space she says was largely conceived by production designer Kasra Farahani. “I remember he brought in the art of the Citadel, and I thought it was beautiful,” Herron says. “He said, ‘The Citadel has been carved from an actual meteorite,’ which I thought was such an inspired idea. And He Who Remains’ office is the only finished portion of it.”

She says there are only a few direct homages in episode 6, including the zoom shot through space, which directly referenced a similar sequence in Robert Zemeckis’ 1997 film Contact.

“And then I have my Teletubbies reference for episode 5,” Herron says. “I wanted the Void to feel like an overgrown garden, like a kind of forgotten place. And I realized I’d pitched it as the British countryside. I remember trying to explain it to ILM, who did the visual effects, and saying, ‘Oh, you know, it’s like the Teletubbies. It’s just rolling hills, but they go on forever.’ That actually was quite a helpful reference in the end, which is funny.”

Asked for her favorite set memory from shooting the season, Herron says it comes down to Tom Hiddleston starting a mania for physical exertion before takes. “Sometimes he runs around set to get himself in the right mindset before he performs,” she says. “He does pushups. You know, you’re going into an action scene, you want to look like you’ve just been running. And it became infectious across all the cast. We’ve got so much footage of — I think Jack [Veal] ended up doing it, who plays Kid Loki. I’ve got [shots of] him and Sophia doing pushups and squats, just to get ready. It was so funny watching that echo across all the cast. I think all of them ended up doing those exercises with him at some point. It was so funny.”

“That might be my favorite set story, but it’s honestly, not a sweet one,” she adds. “I would say my favorite thing is his enthusiasm. He’s a very kind empathetic person. We were filming this in quite tough circumstances, a lot of people were far from home and isolating, and he brought this warmth and energy and joy to the set every day. And I think that made everyone feel very safe and very bonded. I’m forever grateful to him for doing that.”

[familyagrestefanblog]

Ml Meta analysis: Adriens current absents, season 4 structure and theory on whats to come

Here I am back again with my endless rambling.

I'm just as worried for our cat son as everyone else (maybe even more) which is why I tried figuring out for my own sanity why he is so absent currently.

Upfront I wanna warn yall that I wrote this post in one rush this night and therefore had no time to do alot of editing. So things can probably get a bit more messy than usual but I tried to write it clearly, while writing 2 other ml essays as well. This is the one drawback of having so many episodes in such a short time, I have no time to write my posts x3 I had another theory planned for before Optigami airs but I don't think I can manage before tomorrow.

But let's not waste any more time. Grab a snack and here we go:

It's 2am right now but I think I just realized why Adrien/Chat Noir is being sidelined so much recently.

Sure, yes, it'll come into play in the very obviously set up Ladynoir drama later on but what I wanna talk about now is more the structure of how s4 is most likely written in terms of both Marinettes and Adriens side of the story. And then deep dive a little on why I think so.

You see season 4 is now reaping what has been built up from s1-s3, but this also includes that you have to take the time now to properly recreate the new possibilities out of the loose pieces of the broken status quo.

Seriously, season 4 has to handle and reinvent ALOT. The show got now officially announced to have 7 seasons, which is exactly the amount of seasons Astruc said they have story for. I couldnt find the official tweet from Thomas himself but I one from another source:

And now look take a look at the possible shows structure:

- s1-s3 was the first status quo and built up everything so now they can pay off after pay off while...

-... S4 is now the transitional season where the old status quo gets left behind as we work towards the new one.

-I have nothing to proof this of course, but in the same sense it would now make sense that s5-s7 where/are planned to play out under the final status quo. If I'm not wrong at first the show was under contract for 5 seasons, which would mean that after the transitional season 4 there was only 1 season of the final status quo for sure. Still, done right it could have been worth the wait. But this isn't where Miraculous will end. The show actually got the 7 seasons the creator wanted and THIS is how I think the long term plan makes the most sense. Nothing all too complicated but still hella effective in its execution.

But now back to our two main characters, because Marinettes and Adriens development are the two aspects that will raise the show to the intense heights of the s5-s7 status quo.

From s1-s3 Marinette was the active player but she was hardly involved with the actual PLOT of the show, since most of the plot and backstory of the show lies directly with the Agreste family. She only started to get her own plot when she literally created a new one by getting involved with the miraculous lore, because the closest Marinette got to the Agreste plot was "The collector".

Adrien in the other hand was always literally right in the middle of the plot but he wasn't enough of an active player to bring us further either.

Season 4 is now going to add the missing parts for both of them and as the very beginning of the season showed us: there are going to do it SEPERATLY.

This is why "Truth" and "Lies" have been structured the way they are (One Marinette-centric the other Adrien-centric). Yes, Marinette and Adrien are meant to end their story victoriously together, but they are simply not the people they have to be to become such a powerful team. Certain aspects of their journey they have to do... basically disconnected from the other one. The "Miracle Queen" endcard shows it quite nicely as well where they are heading now: away from each other.

Obviously the season started with Marinette growing into her new guardian status including everything miraculous related, since she is the main lead and because the new ways the episodes can now utilize everything Miraculous need to be established first before we deep dive into the messed up Agreste mystery.

So while I totally agree that it is annoying to get so little Adrien/Chat Noir content currently I also understand the practicality behind it. As I said, before s4 Marinette was the active main character who mostly didn't really have her own plot. So now adding her plot aspect and have her ACTIVELY figure everything needed out means that right now Marinette/Ladybug is the active focus main character who is solving a huge part of her s4 character arc. That simply drowns out Adrien as the currently still mostly-inactive secondary main character who, yes, may be right in the middle of the shows emotional + villain plot/lore/backstory, but that side of the story simply isn't in focus at the moment.

And I gotta say, I'm kinda glad they're doing it this way. Because I'm gonna be honest, when the season starts giving us Adrien/family Agreste episodes like "Lies" and "The collector" (in this case "Gabriel Agreste" for example) again, I don't want the narrative to be forced to spend time with something guardian lore based just because they didn't took their time to do it earlier.

So, as we see on the s4 episode raster "Gabriel Agreste" is episode 9. Honestly, I expect most of it (especially the ones near the beginning, so ep. 5 included) til that episode to be Marinette based the way everything else til now did (besides Lies obviously and Guilt trip didn't hardcore focus on Marinette/Ladybug either and that's because it's after "Gabriel Agreste") in the spirit of "Truth". It's just the needed set up from Marinettes side of the story and I can live with that.

Because we actually saw the change after "Gabriel Agreste" already in "Guilt trip".

I don't know why some people pretend like Chat almost cataclysming himself after hearing how guilt-eaten Nino is for Adriens sake isn't a huge indicator that the episodes afterwards will not only acknowledge but also DEAL with Adriens/Chats situation and problems. Remember, we are talking about CHAT NOIR here not Adrien Agreste. The show has always portrayed and acknowledged ADRIENS issues very straight forward and with the proper seriousness (especially when it comes to his family), whereas Chat Noir was often mostly used for comedic purposes with some exceptions of his problems being properly delt with (since Marinette/Ladybug was mostly oblivious to them, since Adrien keeps them hidden so well). But now in "Guilt trip" LADYBUG was confronted head-on with just how much negativity Chat has inside and how quickly and extremely he drowns in it.

Sure, correct, the episode also has his negativity "washed away" rather quickly by Ladybug opening up to him on how important he is to her

But this is in character for both of them as "Lies" very clearly showed us that the way BOTH OF THEM behave here is where the problem lies. There Ladybug was freaked out after Chat threw his life away once again but quickly accepted Chats very direct avoidance of the confrontation, since he seemed to be alright to her.

Something I also find noteworthy here is that Ladybugs dialog is "Seriously, you need to stop doing this to me!", which is.... a VERY Marinette-centric way of acknowledging the problem.

It completely shifts the issue away from Adriens extremely alarming self-harmful/suicidal tendencies and instead only calls out how it affects Marinette (whose feelings here are definitely valid, don't get me wrong!). It showcases perfectly how unaware Marinette still is of her partners inner tumult at that point and also parallels how Marinette called Adriens life "perfect" at the beginning of the episode (This is no shade towards Marinette, in general the entirety of "Lies" is about showing us just how harmful Adriens Chat Noir persona actually IS to him so these two moments of her being oblivious to Adriens and Chats immense problems very much fits into that episodes narrative and sets up what's about to come. I still have an entire essay in the making for "Lies" but, guys, it's just getting longer and longer. I suck xD).

So the fact that an episode after "Gabriel Agreste" brings this scenario back, just a little different but ALOT more revealing of Adriens immense problems to his partner, is VERY telling. Besides other things it tells us that this happens at the beginning of the arc that deals with (at least) Chats issues since Ladybug is still way too quickly too ready to accept her partner as "completely fine" again just because Chat makes it seem that way (while some negativity increasing guilt bubbles still to stick to him.).

And yet, others have already pointed it out that Ladybug IS noticing what Chat wanted to do and reacted accordingly...

she just didn't speak of it the way it is because it overwhelmed her, which calls back to Ladybugs "You have to stop doing this to me!" dialog.( For a great breakdown of her dialog HERE is a link to @flightfoot​ post)

In "Lies" Marinette was way too stressed by her new guardian role to even consider Chats side of it and therefore only spoke of her own, but in "Guilt trip" she's already past that stressful arc. So here she is immediately able to recognize Chats suicidal action for what it is, come to his (much needed) aid and lift her partners spirit the best she can by emotionally opening up to him (which is something we KNOW is incredibly hart for Marinette).

The difference between her reaction in "Lies" and in "Guilt trip" shows that Marinette has her guardian role already mostly handled and is now mentally able to be there for others again, so the extremely Marinette-centric "Truth"-like episodes are mostly passed. Now the episodes can bring Adrien/Chat Noir more into the game again and even shift to "Lies" - like episodes because MARINETTE can pay more attention to him again and isn't faced with something new, important and overwhelming Miraculous related every step she takes.

And THAT is extremely fair from a narrative standpoint.

---

I really need to stop elaborating so much on these posts because I'm only NOW actually getting to the point of where Adriens journey will disconnect for a while from Ladybugs. Sorry guys.

Okay, to understand where I'm going with this I will have to quickly explain how I always saw Chat Noirs place in the Ladybug+Chat Noir vs Hawkmoth war ever since s1.

Because here is the thing: Adrien wasn't able to truly leave the battle field ONCE since the origins. Marinette was completely out of Hawkmoths and Gabriels reach once she detransformed, which balances out her basically being the personification of the good sides force. And Gabriel literally decided whenever or not the battle is even ACTIVE right now! Besides that he is in complete control of his own actions and environment, which gives him all the necessary time, safety and downtime he needs to act as the personification of the evil sides force.

Marinette and Gabriel always knew when they were safe and off the battle field, but ADRIEN never had that and it left him LITERALLY right in the middle of both Ladybugs and Hawkmoths sides.

You see, because before Adrien became Chat Noir he basically was part of Hawkmoths side just by default. He was born into this family, that's his father and lost mother and everything he knows. Adrien didn't/doesn't even have to KNOW that he is part of Hawkmoths side, he's his son at some level he just IS! And I'm not saying this as anything negative, Adrien coming from Hawkmoths side is literally the reason why he became Chat Noir!

Because whereas Gabriel is having the time of his damn life as evil terrorist, created out of tragic and sinister circumstances, ADRIEN on the other hand couldn't handle his families environment and very same circumstances anymore and accepted the role as Paris' hero to escape his heritage for a while.

Keywords being: a WHILE.

Something unique about Adrien I always loved is the fact that he is the villains abused, isolated and overworked SON, who becomes a hero to escape his depressing life and YET it was never Adriens intention to LEAVE IT. Adrien merely wanted to use his time as Chat Noir to let of some steam and breath freely while doing some hero work so he can go back into his civilian life and try to one day successfully ment his broken family. He couldn't handle the current situation anymore but he still always saw worth in his family/father. I have SO MUCH respect for that!

But him not intending to leave his family and instead regaining strength as Chat Noir to continue to hold onto it came with the downside of him not being able to fully become part of the good sides people/force either. Hence why Adriens/Chats place always felt so lost in comparison to Ladybugs and Hawkmoths clear positions. He's caught in between their extremes trying to balance out BOTH at the same time. What an impossible task!

So he couldn't put in the same focus as Ladybug into being the good sides force because he is literally burned out from his civilian life on Hawkmoths evil side. But he also couldn't be involved as an ACTIVE member of his fathers evil force, because he chose to find refuge in his friends and as a hero on Ladybugs side.

Adrien unknowingly is part of BOTH the shows two extreme moral sides of good and evil and this season we will see Adrien/Chat Noir grow into his own within BOTH sides as well.

Because he simply couldn't have done so right away in s1. Now after 3 seasons Chat Noir is more than solidly established as one of Paris Heros and his time with Ladybug, the other heros and his normal friends helped him greatly to find his place on the good side. "Lies" set this up as Chat Noirs arcs starting point that now he has to stop connecting "being heroic" strictly with following Ladybug (as Marinette is the STAND IN personification for the good side, she's still a flawed human being like everyone else and not the ultimate force of perfect and good. Big difference.) just as he has to start looking past his fathers sympathetic moments/qualities to see that Hawkmoth isn't a 100%, inhumane monster just because he is the stand-in personification of evil in their fight, but the man he calls Father and still needs to be taken down. (I talked about this in more detail on THIS post)

Adrien has to seperat himself from Ladybugs path and focus on his family and I believe it'll start with the much dreaded (but expected) Ladynoir fight.

Funnily enough, what I'm talking about was actually already set up in "Frozer" I just didn't remember that for a bit. In "Frozer" we saw Ladynoir having a fight which caused Chat Noir to go his own way in the episodes battle.

I always found it interesting that the episode didn't had Chats decision, to not follow Ladybugs lead here, turn out to be a huge mistake. Almost every other show would have done so but now I think I understand. This episode and s2 in general SET UP the s4 conflict, s3 LEAD UP to it and now s4 DELIVERS it.

So what happened in "Frozer" is a direct parallel to what about to go down:

Ladynoirs fight will cause Chat Noir to not simply  follow Ladybugs side anymore the way he used to, but note, he DOESN'T leave the good side AND they make up again in the end after Chat saves Ladybug from the akuma. He just does things on his own because he isn't on great terms with her for a while. "Frozer" showed Chats decision to not only NOT be a mistake but also a necessary part of defeating the akuma, just the way it'll be in s4. Damn, Adrien breaking away from Ladybugs side, the way she (unintentionally tho) did at the beginning of the season, to focus more on himself and his family will be the game changing factor, when Adrien will have his completing arc where he goes from "not active character within the villain/backstory plot" to "ACTIVE character within the villain/backstory plot".

And we already saw with Marinette how many fast breakthroughs we get through these completing arcs. Which is also a reason for why Adriens/ Chats arc comes later in the season, because BUDDY. Once Adrien starts to actively uncover his families mystery and fathers secrets Gabriel is SCREWED! Adrien will gain the needed inside knowledge that complements Marinettes Miraculous power; and reunited they can take on whatever the hell kind of scale the Agrestes plan actually is.

So how to end this post? My biggest intention was to raise hope for everybody (myself included lol) who is right now very concerned and upset about how side-lined our boy is at the moment. But I prefer doing so in a way that actually works with canons context instead of sugarcoating what I don't like. And Adriens/Chats current position I definitely do NOT like but accepting it as realistic outcome from s1-s3 and set up for the escalation for both Ladynoir and his home situation gives it the proper purpose and pay off (narrative and character wise) that it SHOULD have.

Basically, the endcards of "Truth" and "Lies" show it perfectly.

It looks like ShadowMoth is turning a blind eye towards Adrien/Chat Noir because of Ladybugs new guardian status and "greater importance". But Gabriels tunnel vision on Ladybug will leave him vulnerable to his own sons secret actions against him and Gabriel won't see it coming until its already too late.

[imogen-eye]

right… let’s see. Oh, right. This one’s kind of funny. Ahem.

‘Statement of Elise Emory, regarding her continuous infestation with head lice.

I still remember the first time I had to deal with them.  I was in year 4. My mother had walked me home from school, as soon as we arrived home, without warning she picked me up, carried me to our bathroom and dropped me in front of the sink. She told me 

“One of the girls in your class has nits, Im going to check your hair, when you go back to school, don’t share hats or brushes with your friends, alright El?” 

It was probably only a hour or so, but I complained the whole time, I hated the oily mix in my hair, the comb dragging across my scalp. But when I went into school the next day, it was clear all the other girls had had the same experience.  We probably looked like we were in some weird cult, each one of us with greasy hair pulled back into a braids. Every few months, someone would come in with that recognisable sheen in their hair, and soon enough my mother would check again. She never told me if I ended up having nits or not. But now I know I did. 

But by the time I moved up to secondary school, I forgot they existed. I remember once, I asked to borrow a hair tie from a friend of mine, and she said ‘as long as you don’t have nits.’ But other than that, I’d never thought of them.

They feel childish. You don’t think about lice past primary school. Honestly, I presumed they just… disappeared past a certain age. I was stupid. 

I’d been coming home from work, carrying a box of takeout, when I went to go scratch my hair, it was all gross from the oil of my fast food job, so I didn’t second guess the itching feeling. I saw the small bug fall onto the polystyrene of the box, and I brushed it off like nothing. Presuming it to just be a gnat or something, falling at a convenient time. That was until I actually brushed my hair a few days later and I saw another one, stuck in the bristles of my brush.  After a quick search, I confirmed it was a head louse, ran out to a boots and grabbed some ointment. I spent about three hours going through my hair, and I thought that was that.

Until a week later.  When I began to itch again. And I knew what it was. So. Did it again. Wash hair. Add ointment. Wash hair again. Comb through. There was at least double the time before. Their tiny crawling bodies writhing around between the metal teeth of the comb.  That itching feeling never left me. Every single night. I would sit, combing my hair. More and more, each time. My scalp began to bleed from being scraped for hours on end. 

Finally, I cut my hair short. But it didn’t stop. That crawling feeling.

So then I shaved my head. There was no hair for them to hide in, but the thing with lice, is they lay eggs. Not just in your hair. Pillows, clothing, blankets. Anything your head has been near. The lice can’t live without the warmth the human scalp provides, but as soon as you lay back onto your pillow? They crawl back in. A thousand tiny legs dragging across my head, using my scalp as some kind of fucking incubator. So I threw it all out. Every item of clothing I owned. All my sheets. They didn’t go away. 

I feel stupid, for not thinking of it at first. But after destroying almost every item of clothing I had, I was petting my dog. When it clicked. So I did what I had to. I feel bad, of course. But i knew he was infested. I had to get rid of the source.

But that didn’t work. Nothing has worked. I’m sure you see how I look, I’ve pulled out every eyelash, every eyebrow, my face is covered with scars from the tweezers, every part of my body is red and scratchy from the razors I drag over them three times a day. I’ve lost my job, of course. None of my family have contacted me since shaving my head. My friends don’t talk to me anymore. But I don’t care. They’ve got all their hair. They must be infested. But I don’t understand. I still feel them crawling. I still see them. I know I’m not crazy. It’s not just a ‘feeling’ Every time I shave my head, they’re somehow on the razor. Every time. 

I don’t know what more to do. It must be my skin. I don’t care what it takes. I need them gone. I can’t itch any longer.’

//this is cat!Alex btw.

*he's walking though the institute rn.*

// @eliasbouchardofficial @imogen-eye @antiques-anon-tma @rosalind-learns-blogging @dread-powers-dumbass he's to your mercy now. Do whatever you want with him.

[jextraordinaire]

I know I already reblogged a post about this but the thought of Wilbur going back to writing on the dream smp is stressing me out. I need to stop being protective of Technoblade's plotline and the dsmp plot in general but it's kinda hard. They're a huge part of my life (second to sleep and college) and seeing something I care about be "messed up" would really bother me.

In the interest of organization here's a list of poorly sourced paraphrased things that concern me in regards to Wilbur returning to writing. (In no particular order)

1) Technoblade's excitement about writing

In "a new home" Techno was so genuinely excited about writing. I just want him to be happy honestly

2) The revisions Techno made to Nov 16th

I'm sure everyone remembers how anticlimactic Nov 16th felt after Tubbo was declared president. It was way too easy since everyone defected from Schlatt. The Great President Handoff (tm) started to feel really lame after the dust had settled. All that work for nothing. But then c!Technoblade starts freaking out and goes rogue to fight the new dictatorship. And it was such a climatic ending

But if you remember, Techno said that Wilbur was gonna just have him as another fighter with no significant contributions. No vault, no withers, no Theseus. Maybe he would have managed to make the post president assignment less awkward and anticlimactic but I kinda doubt it. There wasn't much that could be done with it imo.

My point is collaborative story telling gave us Nov 16th not head writer Wilbur

3) Wilbur's cursed canon

The thing Wilbur said about being twins with Techno was never about the dsmp and rather the general family dynamic au that already existed (we know this because Wilbur said that in response to discourse about the au not canon). However the rest of Wilbur's cursed canon is still yikes. Having sex with a salmon, dating a sheep, the refrigerator mother, his references to the family dynamic on the server, etc. When Technoblade says "canon" for the 50th time when Tubbo dies no one takes it seriously. When Wilbur shitposts people update the wiki

4) Techno's commitment to clearing up false info

On a related note Techno's commitment to his characterisation keeps me going. He corrected the family dynamic and comes up with arguments against all the bad takes about his character. He makes fun of Tommy's blame game logic, fights bad character takes by other cc's and pushed for Nov 16th. I trust him to have our back on character and plot nonsense and Wilbur's sometimes opposite demeanor concerns me

5) Wilbur saying he would only come back to be head writer

Wilbur said (before the recent confirmation of him as a writer) that he would only come back if he was the head writer who got the final say. That obviously concerns me because he's coming back now, but the general attitude also feels bad. It insinuates that having his way in the writing is really important to him which doesn't bode well for other writers

6) Wilbur appreciating Tommy not wanting to control his character

Wilbur says (maybe in that same stream idk) that Tommy was super flexible with how Wilbur characterised him while Technoblade wasn't. I can't remember the wording but he sounding noticeably appreciative of Tommy's aquiesence to any sort of writing. Another attitude about writing that I worry won't mesh well

7) Wilbur saying he wanted more geopolitical plot

We have a lot of non geopolitical plot and I'm concerned for how he'd treat them

8) But like seriously Nov 16th??

9) How Philza got into the plot

Not a criticism but Phil got added to the plot and to the smp early because Wilbur wrote him in. What does that say for people Wilbur doesn't know who are running their own story lines. People got really mad over Niki not being involved in the plot like she wanted to and there was no head writer at the time. If you wanted your arc to be important you had to push for it. Now imagine Wilbur not letting someone into the central plot cause he's got his casting already prepared.

10) The exile arc would never have happened

Character driven story telling? Wilbur would never

11) The eggpire would definitely have not happened

Secondary plots that are supernatural and don't involve countries or politics?? No.

12) Techno's retirement arc would be unlikely

Certainly not with the level of development it got

13) -1000% chance of Doomsday happening

Large scale battle to settle conflict?? Not a chance

14) Tommy's hotel bit is cool after all the action

I feel like Tommy in the spotlight just gets repetitive. It's like a tv show desperately trying to make another season. I'm really glad Tommy stepping back from the eggpire arc and giving his character some room to breathe

15) Tommy's non dsmp videos are really good

Another point in the less main character Tommy please column. I personally find the mod videos so much more entertaining than his dsmp stuff. I feel like spending all your time on a server either walk around aimlessly or roleplaying a character someone else made just isn't peak content. Tommy vibing in non plot streams was where his better dsmp content came from. And now he's vibing in videos not even in the server

16) Wilbur plot holes

Despite being a writer before want collaborative story telling, Wilbur's writing has a lot of lore breaking plot holes. The family dynamic obviously, but also the age and death stuff. Fundy's age is a mess and Wilbur writing Phil in as his dad made it so much worse. Is Phil supposed to be 50? How old is Fundy actually? The inconsistency between which lives mattered and which didn't also came about while Wilbur was writing. A fan theory came in clutch but it was very frustrating before that point

17) Wilbur's joke about writing Ranboo out of the story

Obviously a joke but I dislike the implications that he would have that much power over other people's characters

------------

In summary no hate to Wilbur he's a super cool guy. Not all of this is his fault; I'm just concerned and wanted to vent. I trust Technoblade to put his foot down about writing but also I fear

[therabine]

In case you were wondering why wordbuilding for Ravka feels so random

After going down the rabbit hole in my search for answers I've stumbled across this conversation on goodreads dated back to the November of 2013, where Leigh Bardugo replied to some reasonable criticism about her 'cultural inspiration"- https://www.goodreads.com/topic/show/1533856-has-bardugo-talked-about-the-russian-inconsistencies This conversation is quite long and miss Leigh gave about three replies to various questions from people that were deeply bothered by the very surface level research she did on the Russian cilture. Here are the major highlights, plus the other things I've found while goodling: 1) As far as I've understood - neither she nor her publishers expected the first book to blow up like this. So even though there was obvoiusy a lack of proper research and some mistakes variying from minor to insulting, now that she's an esteemed author Leigh claims all of it to be deliberate choices adding that "deliberate choices aren't necessarily good ones". She also tries to lift the responsibility off her shoulders, mentioning that her work "was reviewed not just by my editor, but by copy editors, proofreaders, multiple foreign editors, and foreign copy editors". Not a single word about actual Russian-speaking person/expert reviweing the text or helping her out with creating the Ravkan language though. The only person she's ever credited as the one who helped her out with creating Ravkan is Erdene Ukhaasai from Mongolia that she's been friends on Facebook at the time (source on this one - https://ageofsteam.wordpress.com/2012/04/25/genre-friction-what-is-tsarpunk-by-leigh-bardugo/ ). The Facebook page under this name currently doesn't exist and the only results that Google shows on this person are the mentions that Leigh Bardugo gave in her interview, so unfortunately I couldn't reach out for clarification on this topic. Still, it's highly unlikey that someone with zero publications under their name would be a proffesional linguist and therefore qualified for such a task. 2) Within your secondary world, unless you are writing satire, things should make internal sense. That world could not arize independently of its context. The problem with the Bardugo's Ravka is that it's based on Russian Empire alone, yet she claims that "it's only Russian inspired" without acknowledging that most people that are not familiar with the culture will take it in as authentic. She takes the words and objects out of the context, misgenders names and last names and creates new 'russian-sounding" words without understanding how the grammar works. Which is a shame, given how flexible Russian language is - the possibility for the word-building is endless and with the right guidance she truly could make some unique and meaningful terms specifically for the Ravka. Also on the alcoholic kvas issue - Leigh proudly claims this as a solution to be a vodka "substitute", because vodka would be too on the nose and too common (more on the matter here -https://www.leighbardugo.com/grishaverse/the-archives/tongue-twister/). What didn't cross her mind is that instead of turning a non-alcoholic drink into strong booze for "wordbuilding" it would be much better to use less known drinks whic do contain alcohol - braga, samogon, nalivka - just to name a few.

3) To elaborate on some of the specific issues with names and last names: Leigh doesn't seem to understand how gendered surnames work in Russian. That's why we get stuff like Alina Starkov (when it's supposed to be Starkova, because she's a woman) and Alexander Morozova (Morozov would be a correct form) etc. This system is never consistent - Mal Oretsev gets to have a male surname, but so does Genya Safin and Zoya Nazyalensky has a weird non-gendered kind of in between last name (very much in fashion of Natasha Romanoff, who would be called Natalia Romanova in Russian). Also must mention Ana Kuya - poor woman's name literally sounds like "why the f*ck" in Russian, that's about just as bad as naming your Asian character Whata Phuck. Again - none of this nonsense would happen if someone bothered to find a Russian-speaking person to read the text. Other Russian words she tries to throw in seem to be the result of a bad Google Translate, rather than a conscious choice: for example the word otkazats'ya that she uses to describe non-grishas is actually a verb that translates as "to refuse". The noun with the meaning of "the refused one" would be otkaznik or otkazniki for a plural form. Same with sobachka ("small dog") - the context from the book suggests this nickname to be an insulting one, so the word we're really looking for would be shchenok ("puppy") or shavka ("mongrel", "cur"). The list of those examples, honestly, goes on and on.

4) Leigh does mention that she "can acknowledge that the choices I made in building the language and culture of Ravka came from a place of insularity and a type of privilege". However she's more keen to talk about how she has "certainly encountered critics, but I've also had Russian fans"...Which to me sounds about just as bad as stating "I do have *insert a minority racial group* friends and they say that me doing *insert a dubious act* is fine". The problem is that Russian culture has been demonized and overlooked for so long that most people (myself included) tend to praise content creators for including even the most sterytypical "insprations". Just because some people are willing to excuse her voluntary ignorance, doesn't mean that it's okay.

5) No books on Russian culture that she's mentioned as part of the resarch were written by Russian authors. And while reading the SaB it becomes crystal clear that that the major 'cultural inspiration' Leigh got was not from those books, but from the monstrosity that is her tsapunk pinterest board - https://www.pinterest.ru/lbardugo/tsarpunk-inspiration/ . About 80% of the stuff there doesn't even relate to Russian culture and the rest is a mash of modern knockoffs.

To summorize it: Leigh very much knew about the concerns surrounding her "Russian-inspired" Ravka which were respectfully brought to her consideration by her Russian speaking fans back in 2012-2013. She said "I've taken it to heart and it's something that I've tried to be conscious of as I move forward in the series and my other work", apologized and then she did nothing to do better. She marketed Shadow and Bone as "Tsarpunk", fetishisizing Russian culture and using it as a unique setting to uplift a generic "light vs. dark" fantasy plot supported by the bland narrative of the Chosen One. There was an effort and will to make a change for the better, not a single letter has been changed for us. When I think about, I can't really remember anything that would ring as a thoughtful and clever element adapted into the story from Russian culture. If everything is always altered or twisted, if there is nothing true or authentic then should you really call it Russian-inspired? Should you really make profit off it and call this aesthetic tsarpunk?

Leigh Bardugo could have fixed the most jarring problems with the material while doing the adaptation from book to screen, but she chose not to. There was no effort made to include more people of slavic descent as a major part of production team or as background actors. Almost nothing of the production design or clothing was inspired by Russian culture. To elaborate: I'm not even mad. I'm just deeply sad and hurt by the indifference.

Some might argue that this book series was not written for Russians, that it was written for the western audience. But don't they deserve respectfully researched and authentic stories too?

[woogyu]

A World Tinted Gold | Mingyu; Chapter Two

Kalon; beauty that is more than skin-deep

streamer!y/n x werewolf!mingyu

notes; werewolf au

word count; 1749

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summary; The only werewolves you encountered were the ones living inside your video games. They were nothing more to you than mythical creatures you often had to kill in order to complete objectives. You had a good thing going with your online gaming setup. Your supporters were kind and usually tipped well during streams. Sure it meant you had to deal with the occasional creep sliding into your DMs, but it was worth it. Playing games online was putting you through college. Little did you know your quiet life was about to be turned upside down at the hands of someone you didn’t think existed outside of the virtual world.

»»————-　♡　————-««

“Are you seriously watching that steamer again? Why don’t you just play the games yourself?” Seungcheol questioned as he stepped into Mingyu’s room, chuckling as the younger wolf quickly turned around and blushed.

“It’s not the same… I’m not really interested in the games, I’m interested in her” Mingyu admitted sheepishly, reaching up to scratch the back of his neck. He didn’t know what it was about you that made him so transfixed, but he had a hard time tearing his eyes from the screen. Hell, just the other day when you read his comment aloud, he was over the moon.

“It’s rare for you to show interest in a girl at all” Seungcheol remarked, eyebrow pulled up in question. Until a wolf found its mate there was little reason to get involved with or show interest in others romantically. There were of course some wolves that preferred being unmated; it allowed them to be explorative with their romantic partners. Not all wolves longed to find their mate, and not all wolves would end up finding their mates. He knew destiny had a hand to play in it all, but the thought of never finding who he was supposed to be with made the wolf in him whine. Mingyu wasn’t an unmated wolf that enjoyed exploring his options, he was desperately waiting for the day he met his mate. Right now, Mingyu wasn’t sure if he was simply lonely or if there was something more going on.

“There is just something about her…” Mingyu started, pausing for a second to find the right words, “I just have a hard time tearing my eyes away from the screen. There is something about her that just draws me in” Mingyu explained. He wasn’t doing a very good job at explaining the feelings that bubbled up inside him when he saw you on screen. When he tried to explain it he could never quite describe the feeling that settled over his chest and body, it was a warmth almost like a subtle glow within him.

Seungcheol didn’t comment on it any further as he moved into the room and crossed his arms over his chest. Mingyu knew better than to ignore the alpha, closing his laptop he turned to face Seungcheol fully. Their pack had a different dynamic than most. Normally a thirteen-member pack would be impossible because of the strain it put on the head alpha. It worked for them because while Seungcheol was their main alpha, they had two secondary alphas, Jihoon and Soonyoung. The three of them shared the work of looking after the group and it worked perfectly for them. He liked that the alphas didn’t abuse their power, there was a lot of lenience in the pack and it made for less confrontations.

“Joshua has to head into town tonight and won’t be able to run the perimeter. Would you be alright with doing it?” Seungcheol asked, pursing his lips as he looked down at the younger wolf. Mingyu normally enjoyed running the perimeter, it meant he got to shift and stretch his body, but this time he was a little bit more hesitant with his answer. Mingyu knew that later on tonight you would have a new video posted and he would have to wait even longer to watch it. It seemed like a silly reason, but his heart ached at the thought of not being able to ‘see’ you on screen until early tomorrow morning.

“Sure! I don’t mind” Mingyu answered with a half-smile, Seungcheol never asked him for much so he figured he could help him out with this. Seungcheol breathed a sigh of relief as he leaned back against the wall.

“Thank you, I didn’t really want to be the one stuck doing it again” Seungcheol admitted, the alpha had been on perimeter duty for the past 3 nights and must have been eager for a good night’s sleep. Mingyu smiled and nodded his head a few times, his own wants would just have to be paused for a little while.

Before leaving the room Seungcheol patted him on the shoulder, yawning a little bit as he headed toward what Mingyu assumed was his own room. Mingyu was thankful that Seungcheol’s parents had left him their families pack house. Coming from a family of alpha’s certainly had its perks, and it meant they all got their own rooms.

Once Seungcheol was gone he checked the time, he had roughly 4 hours before he would have to head out.

»»————-　♡　————-««

“I just don’t understand what this trend is supposed to be” you complained to Ciri for probably the 20th time over your video call. Apparently, there was a trend going around among streamers to recreate video games in real life. You hadn’t thought much of it when it first gained popularity, but now Ciri thought it would be a good idea for the two of you to join in on it. Her big plan was a two-part video where the two of you recreated iconic aspects of the Witcher 3 video game. You should have known she would want to do it, she already owned a Cirilla cosplay.

“It’s going to be fun” Ciri reminded you, drawing out the last syllable as she drew a fake scar along her face, effectively transforming herself into the iconic video game character.

“Come on, I even sent you the Yennefer cosplay and everything!” she exclaimed, using her make up brush to point at the camera accusingly. You rolled your eyes as you reached up to adjust the dark black wig that you now wore. To her credit, Ciri had sent you everything you would need to transform yourself into Yennefer of Vengerberg. How she somehow guessed your sizing right you would have no idea. Probably the Witcher powers.

“I wish we lived in the same city” you sighed, leaning your head back and looking up at the ceiling. Things would be so much easier if you and Ciri, and the other girls, didn’t live so far away from one another. But that was the price you paid for finding your friends online.

“Me too” Ciri said with a gentle sigh, setting her make up tools down and picking up her phone, her face coming into full view.

“I sent you the script, I won’t be able to stay on the call with you while we are filming because data rates are crazy, but I know you’ll do amazing” Ciri said with a reassuring smile. You would have to film all of this on your own, which was just a little bit intimidating. Ciri’s script mostly just directed you to do a lot of handwaving and she would add in the ‘magic’ elements later.

“Just find a good spot in the woods and it’ll be perfect” Ciri finished with a nod of her head. You sighed, straightening yourself up and looking down at your phone.

“I’ll call you later on when I’m finished to send you the video” you mumbled, pouting a little bit as you stood and picked up your phone.

“Good luck!” Ciri told you, waving a little bit before ending the call. Great, now you actually had to go do it…

»»————-　♡　————-««

You were lucky there was quite a bit of woods around where you lived, the problem was going to be trying to get to the woods without anyone seeing the ridiculous clothes you were wearing. You threw on a huge coat, effectively covering up most of the costume. After grabbing the bag with your equipment, you ventured outside, keeping your head down as you walked to avoid drawing attention.

Twenty minutes later you were standing in the middle of a beautiful calm forest. Now that you were here you questioned why you didn’t come out here more often. You couldn’t hear the loud noises that came with living in a bustling city and the air felt fresh on your face. Once you reached a small clearing by a river you laid your things down and took a deep breath, basking in the coolness of the air. Maybe this trend wouldn’t be so bad.

After setting up your camera in a place you were at least half sure wouldn’t result in it falling over, you walked into frame and took a deep breath. You briefly checked your phone to see what Ciri’s notes asked of you, before you began doing your best to follow directions. Your portion of the video wouldn’t be long, but you did re-film it 4 times to try and get your motions to be less stiff.

After forty-five minutes of waving your arms around, you walked back to your camera, picking it up before taking a seat on a nearby log. Reviewing the footage, you winced at how awkward it looked, you seriously hoped that Ciri could work some magic on this because you didn’t have it in you to film it again.

The forest around you was darkening as the day began to draw to a close, but you couldn’t bring yourself to head back right away. The forest was too peaceful and serene. Reaching up you pulled your wig off, stuffing it in your bag as you sighed with relief. You closed your eyes and took a deep breath, focusing in on the sounds of nature around you. Maybe coming to the woods would become a weekly thing for you, like therapy.

A low deep growl broke you out of your trance, your eyes flying open and flickering around to find the source. Your heart hammered against your chest, and your whole body stiffened in fear. A few moments later a dark black wolf emerged from the trees, larger than any wolf you had seen on tv. You could vaguely see blood dripping from its muzzle, and its dark red eyes were focused right on you.

It paused at the edge of the clearing, its lips pulling back to reveal sharp blood-stained teeth. Your breath came quick as you leaned back, unsure if you should run or try and hide behind the log. Both seemed unhelpful in this current situation, but you were really low on options.

The wolf’s body tensed before springing toward you. Your hands instinctively grabbed whatever was nearest to you, which happened to be your very expensive camera, and threw it toward the wolf. This did nothing to deter the predator from its prey, and within seconds the beast was on you.

[insertdeeplyrics]

On the ending of Supernatural

Hi, I’ve never actually posted anything on Tumblr of my own creation (I mostly reblog stuff), but I’ve just seen the ending of Supernatural, and given that this is where I’ve been fed my SPN content, it felt right to share my thoughts here. I’m sure nobody is going to read this, but whatever, I just need to get this out of my chest. Sorry in advance if this is too long, but I have to type this out if I want to move on.

I still need to take some time to process everything that’s happened, because it is a lot. I did have my hopes up for the finale, thinking that Cas would at least show up, but like many of the fans, I was let down.

So I guess that would be the first issue I had with the episode. Regardless of what Dean felt towards Cas, if he reciprocated his feelings or not (which he totally did, I mean, we have all been watching the same show for 12 fucking years, and if you don’t believe me, there are plenty of metas that would support this statement), he still is his best friend and it doesn’t sit right with me the fact that he doesn’t even try to find a way to rescue Cas from the Empty. And okay, maybe he didn’t, make Cas got resurrected by Jack, then why the hell wasn’t he on the final episode? He was a pivotal character for the series, I mean, the proof is in the ratings: Season 7, when he was killed off to apparently never return, the ratings were at their lowest. The show may have started as just Dean and Sam, but over the years it became much bigger than them, and it is so disappointing that the show runners failed to acknowledge it. But I’ll get back to this point later.

Okay, I need to talk about Dean’s death, the only part of the episode that made me cry, because my poor baby had to suffer so much! Like, when he started saying that Sam never put up with John’s crap (which reinforces my headcanon that John was abusive towards the boys) and how much he admired him for it, my heart just shattered. I just love Dean Winchester so freaking much, and they did him so dirty... Don’t get me wrong, Jensen and Jared’s acting was 10/10, like, I thought I had a grip of myself and then Sam started crying and tears came back to my eyes. Nonetheless, I felt that the scene was so freaking long! I mean, Dean was dying, and he had time to make a 10 minutes-long speech! C’mon! Also, I get that Sam and Dean’s relationship is quite deep and strong and whatever, but I felt a bit unconformable watching it: it didn’t feel like a brotherly goodbye, more like a lover’s one. They were too touchy and intimate, and, overall, their relationship from this point on was coded as a romantic one, in my opinion. And Chuck, did I hate it! I have an older brother and I know what it is like to be close to your sibling and to love him more than anything else in the world, but the way they portrayed their relationship on this last episode felt incest-y, which makes me believe that this scene was originally written with another character in mind (cough CAS cough) or the writers don’t know the difference between romantic and brotherly love. To finish off, the way they killed off Dean??? I mean, I did expect Dean to die, but this was such a horrible and ridiculous way to go... I would have accepted it if he died actually fighting, but impaled??? After all he’s been through, after fighting so many demons, angels and deities, that’s how he dies??? That just felt cheap and rushed. Dean did not deserve that ending and I refuse to accept it. In fact, I refuse to acknowledge the existence of this whole fucking mess of an episode. Also, I just can’t believe that no one showed up to Dean’s funeral. I just can’t. I get that maybe it was difficult to bring in a lot of actors due to the pandemic, but they could have added them on post-production...

Next, we have Sam’s ending. He quits hunting and finally obtains his white-picket fence life. I did like the fact that he honored all of his friends and family that he lost along the way, especially Dean. Like, yes, if my brother died, I would like to keep a token (don’t know if that’s the actual word for it, my first language is not English), to have something with me that reminded me of him and to have him with me wherever I go. And I did like that he named his son Dean, in honor of his brother. However, we don’t know how he met his wife, we don’t even know who she is. They set up Sameileen for what?? Like, Sam and Eileen deserved better, tbh. And, again, even with Covid restrictions they could have done something to signal that Sam got married to Eileen, you don’t need the actor there. In fact, we never actually found out what happened to her, and just like I can’t believe that Dean didn’t even try to save Cas from the Empty, I can’t believe that Sam didn’t reach out to Eileen. Furthermore, the montage with his son felt cheap and a way to try to appeal to the audience’s emotions... (Btw, as a side note, the grey wig and the glasses, my god, they did Jared dirty 😂😂). But it wasn’t doing it for me, I didn’t care much for the kid, and while I do believe that was always going to be Sam’s ending, I didn’t like how it was executed.

And the worst part of it all: that suuuuuper long scene with Dean driving in Heaven, waiting for Sam. They could have used that time to show something more meaningful, even to develop a bit more Sam’s new life, how he adjusted to domesticity and fatherhood and all that crap. Or, I don’t know, A TEAM FREE WILL 2.0 REUNION??? And I guess this is my biggest issue with the whole episode. I get it, Sam and Dean are the central characters, the ones that started it all, but family don’t end with blood, and they were not the only ones who deserved a goodbye. They had formed so many bonds and friendships over the years, and to not have them address them on the final episode just feels infuriating. Especially Cas. His arc was not finished, he deserved to be on the finale. We never got Dean’s reaction to his confession, we don’t know how he felt about him, nor did Cas get to say goodbye to any other character. How did he get out of the Empty? What is he doing now? Is he still an angel? Also, he gave his life to save Dean, only for Dean to be killed not long after. My headcanon that is helping me cope with Dean’s death is thinking that he was so quick to accept his death because he was hoping to reunite in Heaven with Castiel. A girl can dream, ok??? But also, what about Jack? He is the new God, but I highly doubt it that he won’t drop by the Bunker from time to time, after all, Sam and Dean (AND CAS, ESPECIALLY CAS) raised him. And Charlie? Did she get back with Stevie? Did she and the boys go for drinks from time to time? And Jody? Donna? Claire? Sorry to be so repetitive, but I just can’t understand why the writers thought that these characters weren’t important enough to deserve a spot on the finale, and not just an off-hand mention (and not even all of them got that). Of course, the brothers are the main characters and their goodbye must be the longest and the most emotional of them all, but like I said before, the show stopped being just about the Winchesters on season 3, when Bobby was first introduced, maybe even 4, with Cas.

Overall, the finale left a lot of questions unanswered, most of them regarding secondary characters (but not less important for that!), completely destroyed Sam and Dean’s character development (Dean never got to be free, like he had been fighting for all season, probably all his life; Sam’s development is non-existing, as he ended up as he would’ve if he never had gotten on that hunting trip with Dean 15 years ago), and completely disregarded all the themes they had been setting up this season, probably on previous ones as well. It is sad knowing that the writers, either don’t know the show good enough to give it a proper goodbye, or they just didn’t care to do so. I don’t know who’s to blame here (definitely not the actors, though, probably someone higher up the chain), but I just know that I am so fucking disappointed. I expected more from the last episode of a 15-season TV show, one that has been part of my life for 7 years. I guess, that despite all of it, I can’t hate Supernatural. Maybe I was not a hardcore fan like some people on this site, but I did care for the characters and what happened to them. This is the show that introduced me to the world of shipping (Destiel will always hold a special place in my heart, it doesn’t matter how badly their relationship was treated, as well as the characters) and I got to discover one of my favorite characters, Dean Winchester. He is just such so complex, one that I relate to on so many levels, and his relationship with Cas has been the source of many short stories that I’ve never posted anywhere, but that have made me take up writing again. That’s the reason why I love the show so much, it has helped me tap into my creativeness and go back to writing, a passion of mine that I seem to have forgotten over the years. Anyways, maybe one day I’ll publish some of those stories, and maybe even write my own fix-it fanfic, but right now, I can’t deal with anything that has to do with the show, I am too hurt. Maybe once the five stages of grief are over, I might give it a try and read all of the amazing codas and fanfics that I’m sure will be posted here or on AO3. But for now, Supernatural is dead and gone, and I don’t want to talk nor think about it anymore. I’m done wasting my time here, because I feel like that’s what I’ve been doing this past 7 years after watching this crap of a finale.

To finish this long rant off, I just want to say thank you to some meta-writers, the true heroes of the fandom. Thanks to them, I carried on watching the show, because they made me have hope that things will get better. They are the ones that have made this experience worth something, and even though I’ve never spoken to any of them, I see you and I love you. Thanks for everything ❤. 

@tinkdw @charlie-minion @dotthings @heliodean @verobatto-angelxhunter @misha-moose-dean-burger-lover