#and they just pretty much ignored her already introduced complexity for the sake of plot

[weepingfireflies]

Unasaka Misaki's arc will never not infuriate me. What made her character so interesting was the complexity of her doing her best to take care of Miri in a bad situation but being unable to. She hated her child for "ruining her life," but DID try to take care of her, even when she couldn't take care of herself. She probably WASN'T a good mother, but she realized she wasn't and sent her to her father (which... probably not a great choice either, but I think the point was she didn't HAVE any great options). I do think she loved and hated Miri while stuck in an abusive situation.

And then... she just appears to cause conflict and "repent" and act as an almost antagonistic force to separate the main trio?? Her entire mental struggle and anguish and depth as a complicated character are shifted to become almost an entirely different character? And like, changing to treat the ppl you love after a diagnosis could have expanded & developed her character in a satisfying way (I'm not as upset with that), but it was used as a point of anguish and pain for the main characters Rei and Kazuki and, like someone else said, to shame her for being a (formerly?) "bad mom" without even caring about her as a character. She was pretty much flattened as a complex character just for the sake of drama & being a "mom" character

AND THEN THEY KILL HER OFF??? Like, why would you even re-introduce her if you were just going to kill her off for shock points or whatever???? It felt like the show thought they needed her to "redeem" herself via protecting Miri with her life when she just.... didn't. She may have been a... less than morally pure character, but she was genuinely fascinating

ROUND 1A, MATCH 2 OUT OF 8!

Cause of Death & Propaganda Under the Cut:

Madam Lan

Cause of Death: Unspecified

Propaganda:

she doesn't even get a name....the disrespect

Trisha Elric

Cause of Death: Illness

Propaganda:

She rocks that dead anime mom hair!

Misaki Unasaka

Cause of Death: Shot

Propaganda:

Woman of all time. She didn't want her child originally but changed her mind after her diagnosis. She genuinely started caring for her child, but was killed since her redemption would be inconvenient for the two main characters and the story overall.

Feel free to cut this part out but I also feel like having her stay an estranged mother would have arguably been more interesting, but instead it feels as if she's punished for being a "bad mom" in the first place. It feels like there's so much media that says being a bad mother is unforgivable, and this show, though I love it, did the most cliche thing and punished a bad mom. Sigh.

[thehiddenmemoryuniverse]

Lucifer Ending: Tragedy and Contradiction

Okay, so I tried really hard to resist the urge to post anything about it, and I even held out for over a week trying to process/calm my feelings about the ending to Lucifer. I’ve tried, I really have, but the more I try, the more I CANNOT rationalize that ending. As you may have guessed, I absolutely hated the ending, and I just really, really, have to get my feelings out about it. If you liked the ending (I really wish I could be you!!), you may want to skip reading any further (I recommend you do, in fact). 

Ultimately, regardless of the details, that ending for Chloe/Lucifer is just way too heartbreakingly tragic and sad, however, this is made all the more unbearable because none of it makes ANY damn sense.  

I’m just going to start by pasting a bunch of quotes first:

2x05

Lucifer: I refuse to believe that. There is always another way.

Mum: If anyone can find it, it's you.

2x02 Chloe: “Doing what's best for your child, it doesn't always make them happy.”

3x16

Cain: But you're the Devil, you always keep your word.

Lucifer: I do. So I hope you understand how difficult a decision this was. And yet, oddly, the easiest I've ever made.

6x01

Lucifer: I love you, Chloe Decker. I'd do anything for you. Except give you up. Give us up.

6x09

Lucifer: I need you to know that if there is any choice to be had at all, I will always... choose us.

6x07

Rory: You make choices, Mom. If I told you what they are, you wouldn't really be making them any more.

Yeah. Not going to comment further on these right now. 

Nor am I going to even get into the whole fate vs free will. Regardless of your views on that debate, why on earth a show about free will spends its final season spotlighting the widespread, controversial debate of fate vs free will by introducing a time loop plot, I’ll never understand. 

But even if we forget the numerous issues/contradictions with that (and the ridiculous irony of Rory’s quote shown above), and accept that Lucifer and Chloe chose this, I honestly feel like screaming because WHY??? Why on earth would they EVER want to chose this? 

I know the 2 reasons given, the reasons everyone is speaking up with, the reasons expanded on at length in fanfiction, and I’ve tried really, REALLY hard to rationalize them in my head, tried to enjoy the sweet moments fanfic writers are trying to make of it, but I cannot. Because it doesn’t make any damn sense whatsoever to me.

Reason # 1: Lucifer never would’ve realized his ‘calling’ to help tortured souls in Hell.  

Right. First of all, if it really is his ‘calling’ he would figure it out eventually because that’s what a bloody calling is. I mean really. Not to mention there was plenty of evidence that he was figuring it out already, and him figuring it out after actually helping people in hell (Jimmy, Dan, Mr. Said out bitch), makes way more sense than stopping someone from making the mistake of killing someone else.

And second, even if we accept the argument that he wouldn’t find his calling, we are then saying that he chose his ‘calling’ over his own family, the people he loves most of all? That’s beyond awful to me. And pretty much destroys all of the growth and beauty and love and development across the series. A complete contradiction to even earlier in series 6. See above quotes. Lucifer tells Chloe he’d do anything for her, except give her up, give them up. He tells her if there’s ever any choice to be had he would chose them (his family). So, what the heck? Which leads me to reason 2, and beware with continuing because this is UNBEARABLY frustrating to me so I may get a bit heated. I just can’t. I can’t understand this.  Reason #2: They did it for their daughter, because she asked them to, because she didn’t want them to change her, because she’s happy with who she is, etc, etc..

This is the most widely accepted reason, the most referenced in fanfic, that it’s so beautiful because Lucifer and Chloe sacrificed everything for their daughter because they loved her so much.

I’m sorry, I really am, I tried so hard to make sense of this but it makes the least sense to me of all. 

Why on EARTH is Rory growing up without her father better for her? Why on earth would Lucifer, of all people, knowing the pain it causes, ever chose that for his daughter?

This is not sacrificing for their daughter, this is sacrificing for NOTHING at all. This is doing the ABSOLUTE worst for their daughter, all because she asked them to?

And her asking them to in the first place makes no sense either. Why on earth would Rory ASK for it after all the pain it caused her? Earlier she told Lucifer and Chloe that him leaving ‘ruined her life’, and now all of a sudden she’s happy with it? After seeing and reading how much Lucifer and Chloe loved each other she wants to separate them? After saying she now loves Lucifer too she wants to do that to him? And you can’t tell me it’s her being selfless because she thinks he won’t find his ‘calling’ otherwise, because even if he doesn’t (which he would for reasons above), then again we are saying they are choosing a ‘calling’ over family, over those they love most. Or, even worse, Rory, is choosing FOR HIM and ROBBING him of his choice to chose his family over his ‘calling’. 

No matter what way you spin it, it is just all kinds of wrong and messed up, and does not showcase the love the characters have for each other, nor the freedom of choice.

There’s nothing beautiful about any of this to me. It’s just plain awful and cruel for NO REASON. 

Yes, I know I’m missing one popular theme with all of this, and I might just hate this one most of all: That even though Rory suffered it made her stronger, she’s proud of who she is, and they don’t want to change her, don’t want to ‘kill’ this version of Rory who grew up without her dad. 

No. Just no. This pains me immensely. So we’re saying that she’s a better person having grown up without a Dad than she would’ve been growing up with a complete, loving family? That people who grow up with loving families can’t be as strong and proud of who they are? WTF? 

Sure, we as people are only strong in life when we need to be but that doesn’t mean that someone who grew up more fortunate doesn’t still have the capacity for that strength (or that they don’t suffer in other ways).

Yeah, it’s beautiful when you grew up abandoned and were able to eventually overcome it, but in reality you’ll always be scarred to some degree, and you certainly would have been less messed up, happier if you hadn’t.

Changing the time loop so that Rory could grow up with her father in her life wouldn’t ‘kill’ her. Fundamentally she’d still be the same, still would have grown up with her ‘kickass’ mom. All the good parts would still be there. There would just be even more good and much less of the bad.

How on earth would Chloe and Lucifer not want to chose that?

There is no way anyone can ever convince me that you come out better growing up abandoned by your father than you would have if he hadn’t. Just no.

We are strong and proud to overcome something only when WE HAVE NO CHOICE. CHOOSING to suffer just to show how great you are afterward for overcoming it when you could have chosen NOT to suffer at all, is just the most ridiculous thing I’ve ever heard. 

It reminds me of a quote from one of my childhood movies, the original “Lion King.’ Little Simba tells his dad he went looking for danger to show that he’s brave, and his dad answers, “I’m only brave when I have to be.” 

So.  Circling back. Ignoring the debate on whether or not there was even a choice given (fate vs free will and ridiculous time loops). Ignoring that Lucifer likely (and should have) been able to find his ‘calling’ anyway. 

Then, in summary, we are left with Lucifer (and Chloe) ‘choosing’ for Lucifer to leave them for Hell, abandoning them both (and Trixie) because either

1) Lucifer’s calling is more important than being with his family

2) Rory wants to suffer, to let her parents suffer an unimaginable amount of pain, just to show that she comes out better for it, even when she can choose not to suffer at all. And Chloe and Lucifer are both in agreement that this is best for them and their daughter. 

What. The. Hell???!!

I’m sorry, but there’s no rationale for this. None. At. All. 

I’ll be the first to admit that I would never be happy with such a devastatingly heartbreaking ending no matter what the reasons, but, HOLY HELL, can they at least have had it make even the smallest amount of SENSE?! 

It’s just angst for the sake of angst, and I especially did not expect this from this show. It was always a show not to be taken too seriously, not to overthink and just have fun with, and that’s what made it work for me. But then they decide it’s a good idea to 1) throw in a time loop plot when time loops in fiction is pretty much the definition of serious complexity and making viewers overthink. And 2) have it end with such a tragic and sad ending that makes no sense. I am so sick and tired of the trend now days that shows can’t have happy endings.

(Edit: Now look what happened. I’ve gone and made another rant: https://thehiddenmemoryuniverse.tumblr.com/post/663357629901438976/lucifer-morningstars-broken-journey)

[clolikescloquetas]

THINGS I HOPE TO SEE (OR NOT) IN ACOTAR4

Nesta NOT STAYING AT THE ILLYRIANS MOUNTAINS for long, and travelling to other courts or the continent instead so she sees the world just like she wanted to do before the war. I think sending her away to a cold mountain surrounded by misogynistic warriors who hate her and are scared of her was a stupid af decision. Especially when it's a war camp and war triggers her PTSD. Oh and let's not forget there's a revolution about to take place. I see it as a very forced way of the narrative to make cassian and nesta interact. I understand an unexpected turn of events was needed as a beginning for acotar4, but going to the mountains shouldn't be anything more than a beginning that quickly leads us to another location. We've been told many times that nesta is "illyrian at heart" but I don't buy it. She isn't such thing, and her character is way too complex and interesting and has too much potential to just make her fit into a culture she doesn't belong to and has nothing in common with (it's stupid to think a place that reveres war and bloodshed will help her heal).

Besides, after all the places the previous books introduced I think it would be boring to stick to the same court. I loved Velaris but now that Feyre's story has ended it's time to move on. Not to mention that the Night Court is the worst place for Nesta, it reminds her of all her trauma and its high lord is a male she despises. Nesta needs to go somewhere else where she can recover her spirit and independence, and be free of the commands of a male that gives her orders as if she were her subject (she is not).

Hopefully, knowing how much sjm loves plot twists and given how she's already told us where nesta is supposed to go, it won't stay like that for long.

NO TRAINING. Maybe learning self defense techniques but that's as far as I'll go. No training to turn her into an almighty warrior. Nesta has power from literally the mightiest magic device in the world, and you're telling me getting beat on a ring will empower her?? Even when she's previously stated her refusal to train and said fighting isn't the only thing that makes someone strong?? And we're talking about Nesta, whose powers make her lethal. Making Nesta train would butcher her character and istg if they pull the "fighting helps her go back to her old self and empowers her" I will lose it. Enough with making that troupe work for everyone. We've seen it before and it has worked out well for other character, but in this case it wouldn't feel right and would be boring af.

I've seen a few people say they want Nesta to command the Illyrians, and help with the whole misogynist issue they have, or that she should do the Blood Rite I don't know if the name is correct, I don't remember it to gain the respect of the warriors. How should I put this: NO. This is more of the "Nesta is Illyrian at heart" bullshit Rhysass likes to pull, when what he actually means is that she is proud and stubborn. She, and I can't stress this enough, is not Illyrian. She shouldn't be participating in traditions she doesn't understand and doesn't engage in (she doesn't want to learn how to fight for fuck's sake) and we certainly don't need nesta to pull a white saviour behavior. I don't want her to come and solve a centuries old problem of a culture she doesn't belong to. And I don't see how she could do that in a credible way either, given how they all are terrified and wary of her. This also applies to the rioting issue that is looming over the illyrian camps.

Nesta healing and improving her mental health with cassian at her side to support her, without making him the reason why she gets better. And showing the effects war has on a veteran as Cassian too.

Someone, preferably Nesta, calling out Feyre, Rhysass and the rest of the IC on their shitty behavior and actions, and the narrative finally acknowledging their mistakes and portraying them as the deeply flawed characters they are. Now that we don't have Feyre's POV anymore there are no excuses for condoning their shit.

Cassian realising he has judged, ignored and said cruel things (like he doesn't know why her sisters love her are u kidding me) to Nesta and how he hasn't stood up for her before his friends. Oh and how he ignores her when Mor is present. I'm a sucker for nessian, but before they are a thing, he should apologize. I don't like how he treats nesta poorly and then expects her to love him, when she doesn't owe him shit. It's selfish of him to expect her to fit into his family even when they all hate her. I hope acotar4 handles well these issues. And I can't wait too read Nesta's POV and know why she didn't want to be close to Cassian after the war.

Nesta making new friends on her own, people who respect her and love her. I love nessian but I don't want their relationship to be the only deep interaction and relationship Nesta has. I would LOVE to see her and lucien become best friends (they were supposed to be lovers after all, and although a romantic relationship has been dismissed I'm sure their friendship dynamic would be amazing), or get acquainted with Helion or even Azriel. She needs to meet new people, and preferably not from the night court.

We've read many times how Nesta's powers are described as great and terrible. The source of her power is the fucking cauldron, used to create the world. Even tho no one knows yet what those powers are exactly, she has used them to turn hundreds of soldiers to ashes and even the bone carver, a death GOD, has spoken of the way the earth trembled at her power when Nesta was made. I want these powers to be a huuge part of the plot in this book. I want Nesta to master them fully, and for us to see the process. I don't know if I'm the only one who thinks like this, but when Feyre discovered she had powers from all the high lords, it seemed to me that she mastered them too quickly. I was hoping to get more attention on that issue, but it got dismissed quite quickly. Now that it's Nesta's time, I want the book to fully focus on these powers. Oh, and what I want the most is my baby to become the most powerful creature in the continent. More mighty than Rhysass and the other high lords by far. You can't give us a whole book preaching how nesta is really powerful, and how she took something from the cauldron that made the earth tremble, and then turn her into a common witch or something similar. I mean you can't expect me to believe the high lords have more power than the cauldron.

Although I find that to be another plot hole, bc the cauldron was supposed to be almighty but then Rhys and Feyre restored it when it broke?? Does that mean they are more powerfull than the object that created their world?? If that is so, they why didn't they win against hybern sooner??

Anyways, I want Nesta to never have to bow to anyone. Ever.

Well that is what I'd like to see in the next book. Which, based on the information we have, is basically the opposite of what will happen. As far as we know, sjm said there would be a lot of training in this book (I assume she was talking about Nesta) so there goes the chance of her not been a warrior. We know she'll go to Illyria, and although it's my hope she leaves soon or that she never goes in the first place, I know that's not what's going to happen.

And then there's the sex. Sjm said she had to delete some of the sex scenes bc her editor said they were too much and unnecessary. Which means there are still plenty of sex scenes in the books, as sjm confirmed. Don't get me wrong, smut is fine if handled correctly. But I don't think it will he handled correctly.

In fact, I think acotar4 will be placed on illyria the whole book or at least a huge part of it, and that we'll have lots of unnecessary and meaningless sex scenes inside of Cassian's cabin in the mountains instead of a well written and interesting plot, a well developed and complex relationship between the characters and a well handled depiction of PTSD and trauma healing.

In my mind it'll go like this:

Nesta arrives in the mountains. She and cassian are mean to each other for a while and the sexual tension is pretty obvious between them. Nesta starts training. At the beginning she hates it but over time she ends up loving it and excelling. Sex. Nesta makes a few friends between the illyrian female warriors she trains with, whose characters are shallow and totally secondary. Sex. More sex. Maybe something about Nesta's powers. A scene where cassian and nesta have an openhearted conversation about their relationship. Cassian never acknowledges how he treated Nesta, but she will apologise to him for how she kept him away. This leads to more sex. Nesta makes up with feyre, and apologies to her for being mean or whatever sjm comes up with. Feyre doesn't apologize back, or it's a shitty apologize for sure. Sex. Nesta stablish a cordial although cold relationship with Rhysass and Mor bc apparently she and Az are not destined to interact (even tho Az would totally oppose Nesta's situation of being sent to the illyrian camps). Sex. Nesta does the Rite. Sex. Sex. Something about the illyrian rebels. Cassian gets hurt. Nesta goes feral and gets a hold on the illyrian people. They respect her and answer to her now. Sex.

Or something along these lines. Oh and I have the impression sjm loves her main characters too much to write any scene showing how the decisions, actions or behaviour regarding Nesta of Feyre and Rhys were wrong. Acknowledging this could make it seem like they are flawed people like the rest, and apparently that's not possible.

I pray to be proved wrong once the book is released. Only time will tell.

[lordeasriel]

I really care about your opinion, how do you feel about the bbc show and the way it's going?

I feel like before I give my take, I need to say that I understand the show is its own thing, and while I do wish they did a better job adapting certain things, I understand that sometimes there is a need for radical change or cut, especially when your budget is not super high (which HDM does have a lot of money into it, still is not a super big budget production, so they have to worry about these things). And I do enjoy many things about the show, but my overall vibe is mixed, to be honest. I’m stating this now because people often question whether I like the show or not, becaus I do criticise it a lot, and I simply have a critic view of the things I like, which is why I discuss them a lot and it can be overwhelming.

My main issues with the show are these 3 things: (which I’ll put under the cut because this got a bit longer than I wanted to lmao sorry)

Lack of worldbuilding and loose lore: I’ve been talking about this since day one, and this mostly applies to season 1 because I can’t judge season 2 yet because it’s not fully aired yet, but the show suffers from lack of worldbuilding, especially in Lyra’s world, which is the world that sets everything in motion. I still dislike the fact they introduced Will mid-NL, I don’t think he needed all those episodes to establish something that easily could’ve been done in S2 and because they gave TSK a lot of time, other parts of Lyra’s world suffered considerably, mainly the witches and the Magisterium.

The show doesn’t really expand on those two groups, especially, and I think that’s not good, especially the Magisterium (which they have over simplified by making it one big baddie, or so it seems at least, not to mention that implying a single leader for them practically ruins Marcel Delamare’s arc in TBOD and I’m very mad about that lmao). A lot of the Magisterium plot has that infighting aspect, which creates tension on their side as well as against their enemies, but the show doesn’t really explore that or the nuances of the Church, and they also don’t explore how varied the witches are, and I feel like this is a serious mistake. (The portrayal of the witches is by far my least favourite thing in the show, if I’m being honest).

Dull parallel world (and lack of daemons): this ties a bit with the worldbuilding aspect, but this is mainly about design choices. I think the show doesn’t make Lyra’s world as unique as it should be. On its own the world looks pretty and the outfits of most of the cast are great, but when you realise that Will’s world is intertwined with that, you don’t really feel like these two worlds are vastly different.

There is an odd situation in which Marisa’s fashion feels 30s/40s, but most of the men from her social circle (not fair to compare with the gyptians) just wear plain suits and they look much more modern. And while I get that they went for a timeless vibes, with different eras and styles, Lyra’s world feels like a caricature and it doesn’t feel believable. The colour palette is mostly the same for both worlds (even in s2, it’s hard to tell much of the difference because either the scenes are indoors or at night.) This, paired with the lack of daemons (which has been discussed many times in the fandom) kinda bums me out.

Marisa’s oversimplification: I’m mentioning Marisa, specifically, because she is the one that suffers the most due to this writing issues, but other characters like Lord Asriel, MacPhail, the general collective of the Witches, they all suffer from the writing trying to take away the nuances of them and make them flatter than in the book. Marisa is the worst because without her complexity and her flaws, she simply gets dull and boring and flavourless, and it’s kinda what has been happening in the show in my opinion. All she does is weep and she has no strength that doesn’t rely on a random fit of rage that dies out and she gets upset. There’s some great moments, like when she mimics the Monkey, but most of the time she’s just a shadow of who she is supposed to be.

The show tries really hard to make her a Scorned Mother - right from the get go, they try to makes us see how she wants Lyra, how she struggles with her “bad nature” and how that affects their relationship. There is this lingering implication that Lyra was taken from her against her wishes; they make it seem like being a mother to Lyra is her driving force, the only reason why she seeks power and influence. And that is the opposite of Book! Marisa, who is a force of nature, ruthless and ambitious, with not an ounce of maternal instinct.

She does eventually decide to help Lyra, instead of harming her, but even that action comes from a narcisistic place: Lyra is to her a possession, something that belongs to her, and that she wants to preserve. The show just handles her badly, falling into overused, boring tropes that struck far from the book version.

These are usually my main complaints about the show, and they upset me every episode to the point I’m practically ignoring them now lmao The show does a lot of good things too, making Will less of a prick, restoring Lyra’s personality from the first book into S2 Lyra (so far, please keep it that way), Mary is looking great too. They have mostly a great cast, and they did improve the daemons this season (except uh, there are far less daemons to show because of the other worlds - and the Ruta Skadi daemon change pisses me off tbh).

They do have a lot of interest in the show, but the writing (the main issue to me) feels clunky and childish, with the show toning down most of the themes that make His Dark Materials so special, especially to me (which frankly I expected them to do, but it still stings a bit). They make the Magisterium a single bad entity that feels more Authoritarian-Fascist, than a theocracy (even if they sneak in the religious symbols and rituals and garments, it’s just not a good portrayal, it’s very tame and shy); and they try to justify Marisa’s actions (especially in current interviews, there’s lots of talk about how her background will play in the show to “explain why she is the way she is”). The fact the Magisterium is portrayed as pure evil makes it looks less familiar than it should be, and therefore they don’t look scary, they seem like a caricature, a joke.

A lot of the essence of the characters get lost, and the core message of the story too, like when Iorek and the Gyptians tell Lyra she can be one of them, to support her lack of “proper family”, when that is the opposite of the books message. It doesn’t make sense for them to change that, other than maybe Jack Thorne wanted to because it makes the story feels less hopeless, but it’s why he fails to adapt these character - he doesn’t capture the essence, he tries to write these character with gaps in them.

However, the thing that annoys me the most is how they portray Asriel. It’s just... it’s bad. Really bad, which is a shame cause James is talented as fuck, but he had little time to film for season 1, and then they portrayed him very poorly. That scene when he addresses Roger in episode 7 is ridiculous, Asriel would never behave that way; there was relief in him finding Roger was there too, yes, but not to that extent and not in such a cringe way. Asriel is not deranged or irrational, he is a man on a mission, and Roger was a tool (there is no pleasure in Asriel taking his life and no excuses - it needed to be done and he did it); they just needed him to sound creepy in the show for whatever reason.

I hated how they handled the bridge scene for Asriel, Lyra and Marisa, but that’s long and complicated for me to explain here. In S2, there has been some mentions of him so far, including the implication he might have ruined Cittàgazze himself and I frankly don’t understand where did they get that idea. But the cherry on the top was Thorold telling Marisa that Asriel was gonna kill Lyra and that’s just-- that’s so dumb. That’s genuinely dumb writing, because Thorold knows Lyra followed Asriel to the mountain, and while I do believe Asriel would have killed Lyra if Roger wasn’t there, there is no way Thorold should know or consider that Asriel was gonna hurt Lyra, because Roger was there. In fact, Thorold’s interactions with Asriel in episode 8 already disprove this, so either Thorold was lying in S2 for the sake of, I don’t know, chaos or whatever, or the person who wrote this was a five-star, solid gold, fucking moron.

I’m not gonna mention the lost episode because that was no one’s fault, but the fact that they discarded an episode that all information we have on imply that it was important to set up the backstory of the angels and the city, it’s... concerning. It means they wrote something parallel that should’ve been woven into the season.

The truth is, I still watch the show on Sundays, and I still like some stuff they do (especially Mary’s stuff, so far), and despite me slandering the show per your request anon lol (cause unfortunately my honest opinion is mixed, I just don’t try to overfocus on the negative on Tumblr, I mostly talk about it on discord or private), I do think anyone who has read the books should watch the show.

For me, personally, everything I love about HDM is barely on the show - complex characters, the philosophy, the oppression by religion, the interesting world - and the vibe I get is that they’re adapting a coming-of-age love story, which is the last and - being fully honest - the least important message these books give us, but unfortunately they were set to making a family show from the start, and my expectations were high and unmatched, and a family is what we’re getting: toned down, cute, pretty visuals and soulless (heh, pun intended), philosophically speaking. I expect a certain pattern going into S3, but I always like to hold out hope that they will hire better writers (apparently Jack Thorne already wrote 4 scripts, so there you go lmao), and try to give HDM the adaptation it deserves. The truth is, if you’re a picky, canon reliant person like I am, the show might be a struggle, but if you just like the story for the teen romance, or if you don’t care about overthinking a show/book, then most people can have a good time with it.

[ninwrites]

Shadowhunters 3x16: On Clary’s Actions and the  Consequences For Those Around Her

No, I cannot confirm that there is actually anything coherent here. Just my rambling thoughts, collected as well as I could. For the record, I don’t hate Clary, I just don’t think that the writers consider the impact of her actions on the people around her and I’m getting more than just a little tired of it. Please read at your own discretion.

Also, shout-out to @magnusbicon for encouraging this & @izzybabewoods for the inbox message that started it all. you’re enablers in the very best day and this wouldn’t exist without you.

Here’s the thing.

 In season one, the majority of Clary’s arc was quite self-centred. And that’s fine. For all intents and purposes, she is the main protagonist, and the reason we’re introduced to the rest of these characters - the Lightwoods, Simon, Magnus, Valentine, even the Clave - is through Clary’s connection and interactions with them. As the audience, we’re following her into this new world, and it’s as she learns things that we become aware of them too – we’re not just watching her go on this journey, in a way, we’re going on it too. If Clary wasn’t at the focus of the season, we’d miss out on important knowledge that helps with our understanding of the shadow world and the characters that inhabit it – because it is quite a large and complex world.

��Then comes season two. Jocelyn comes back, who – as much as I adore Luke – is mostly concerned with Clary, and rightfully so. This is her daughter, who she chose to keep in the dark about the shadow world, there’s a lot there to catch up on and to mend between them, and Clary needs somebody who she (supposedly) will listen to, to counteract her rash and impulsive behaviour, because as much as she’d love to think that she knows everything, Clary at this point really has no idea what world she’s come into. There’s a part of her that has already made up her mind about the shadow world, about Downworlders and Shadowhunters and her role here, and whether it’s right or wrong takes the backseat, leaving the season’s arc as the driving force. Or, rather, her part in it. Because – and here’s the bit that frustrates me the most – the character arcs, the desires of others, their hopes and goals and wishes all fall second, or third or somewhere closer to last, to whatever Clary wants. Despite not actually being brought up as a Shadowhunter, she manages to sustain quite the assumption that she is the most important person in the room, and therefore, that whatever she wants comes first.

 Sometimes, this is a good thing. Often, the line is blurred.

 Her intentions often come from a good place, with the consequences falling short because of her impulsivity more than an inherent ill-will. Look at Simon – he’s still in the show, yay! Only … he did die. I’m not saying that I would have done any differently, but from a factual standpoint – it is Clary’s desire to have her best friend back that turned him into a vampire, and by a tenuous, albeit valid thread, it is because of Clary that Simon was coerced and manipulated by Camille; homeless; all of the back and forth mess with Raphael; got turned into a Daylighter; got coerced into joining the Seelie Queen’s court; turned Heidi – and we all know how that turned out; got the mark of Cain; lost his mother; bit his sister; lost the mark of Cain. I’m sure there’s more that I can’t remember, but again, I’m not saying that Clary is the sole person at fault here. However, I am saying that all of this is – per the butterfly effect – because she didn’t think about the consequences past not wanting to lose her best friend. Additionally, I’d argue that through most of the above, Simon didn’t have the support from Clary that he deserved, or that she should have given. In that respect, the relationship between them feels awfully one-sided, and has since the first episode. There are moments, of course, but they’re becoming even fewer and further in-between.

 I could probably write a whole thing on Clary’s relationships with people she supposedly cares about (*cough* Luke *cough*), but I’m getting off point. I want to talk about 3x16 in particular.

 Firstly, the rune power. Maybe it’s just me - though I have a sense it’s not - but Clary’s rune power is getting a few miles north of the city of Absolutely Fucking Ridiculous, and veering towards Overused/Abused county.

 (Does that metaphor make sense? I have no idea).

 Anyway. Being able to just suddenly make a portal to Edom that doesn’t just summon Lilith, but literally pulls her from Edom – from essentially the cage that Asmodeus put her in using Magnus’ magic, which has already been hinted to as just as powerful, if not more, than a Greater Demon – without any resistance? Really? Seems a bit unrealistic to me. Because, either this means that Clary is actually an Angel, for all of the power that she apparently wields, or that she’s more powerful than Magnus, and actual Greater Demons. I personally chalk it up to convenience from the perspective of the writers, but that’s just me. Back to the rune – the idea that Clary has this power at all is already a bit of a stretch, especially with how willy-nilly the writers are when it comes to using it, but now it’s reached a point that is just nonsensical. No Shadowhunter is this powerful, not even the great Clary Fray.

 Then, there’s the part where Clary is the first Shadowhunter to possess this power, as far as we know; there is nobody that has the prior knowledge to train her, so again – for the sake of convenience, I’m sure – it’s something that apparently just comes to her as naturally as breathing. Which – okay. Fine. They don’t exactly have time to show a montage of her learning how to deliberately create these runes. I get that. But that doesn’t mean they have to render this power unreasonable. Creating portals? Cool. Realistic. I don’t actually mind that, even if I think it got a little to Clary’s head. The sunlight rune? Pretty cool, I won’t lie. I liked how that came about – there was a heightened emotion to the moment, it made sense that a rune would manifest under such stressful circumstances. But Clary just deciding that, because she wants this rune to exist, it instantly will? It will work, just by the strength of, what, her willpower? I know it’s quite strong, but this logic isn’t. It’s ridiculous. It doesn’t make sense. It’s cheating for the sake of an easy plot, without minding the six-feet deep holes left behind.

 Now, I’d also contend that as helpful as this power is, it doesn’t magically fix everything around her. Sometimes, it makes things worse. Such as during 3x16.

 The biggest thing that pissed me off about Clary in 3x16 is the fact that she decided they all had to do whatever they could to get rid of this rune, because she was sick of it and couldn’t handle it, so that must mean that everybody else has to turn all of their attention and focus towards her, regardless of whatever they were doing before. And what are we told this is prompted by? Her snapping at Simon; (which, by the way, wasn’t as harsh as I think we were supposed to believe. Clary going through PMS probably would have resulted in the same reaction. It was snappy, and angry, and a little rude, but not … evil. Simon looked more shocked than anything. Maybe if she’d snapped at everyone, it would be more believable. But like a lot of this episode, this felt a little bit like a cop-out.)

 Mere steps from this conversation, Magnus was lying unconscious because of magic that wasn’t his, that he’d sold his apartment for, because he didn’t feel like he was worth being alive, worth existing, without his magic, that his magic was all that made him special – which, he’d sacrificed for Jace, no less. Granted, Clary likely wouldn’t have known about how Magnus felt about losing his magic, but I do find it hard to believe that she wouldn’t have even realised that losing it at all would have been an incredible trauma for Magnus.

 Then again, it does feel like Clary only cares about Magnus when it suits her. It’s harsh, but I sometimes wonder if she’d care more if Magnus had died, or if she’d just be upset because she’d lost a resource. This mostly stems from how she’s written, I’ll admit, but it’s still how I feel.

 And I think canon backs me up here. After all, look at what Magnus has gone through at the end of 3A and into 3B alone.

 He sacrificed his magic to Asmodeus, the man who abused and emotionally manipulated him, who probably made him commit heinous acts, of which murder I’m sure wasn’t off the table, all after having to grovel and endure soul-crushing humiliation at the hands of aforementioned abuser, who he most likely had gotten comfortable with the idea of never seeing again, all to save Jace from Lilith’s control (only to return to see the love of his life bleeding out with no way of saving him – I don’t blame this on Clary, but it is a factor that has affected Magnus. How could it not?) After Magnus returns, mortal, mundane, barely half of the man he used to be – his feelings, not mine – he’s ostracised by Lorenzo and ignored by the rest of the warlocks from Lorenzo’s command, excluding Catarina, his only friend at this point. Just there, he’s given up everything for Jace, and whilst it’s possible that Clary doesn’t know, it seems a little far-fetched to assume that Jace wouldn’t tell her. If he did, it seems a bit unfair for Clary not to consider that, but then, there’s almost an assumption that sacrifices made for people that Clary explicitly loves – Jace – matter more than the people who made the sacrifice.

 Then, because he felt so empty and lost without his magic, Magnus had to forego his pride and dignity to ask for Lorenzo’s help – his mortal enemy, basically, who has always disliked Magnus – selling his apartment in the process, his home, only to then be rejected by the magic, resulting in him having to give it up to not die. Because of that, he has to go through the process of losing magic again, even if it’s not quite the same as his own, which would have teared his mental health to shreds, and completely destroyed any progress he’d made towards feeling better, feeling more like himself. Now, I do believe that Magnus understood the weight of the transplant and all of the ways it could go wrong, which just makes this even more painful, because he felt that dying was a better alternative to not having his magic – if it weren’t for Alec, and Catarina, and Madzie, I don’t think Magnus would have had the strength to give Lorenzo’s magic back. Yes, there’s an argument to be made that he only did it for Alec, but I personally think it was Alec’s insistence that he couldn’t lose Magnus – wouldn’t, lose him - that prompted Magnus into remembering that they were people out there who cared for him, and loved him, even if it’s impossible for him to understand why. Depression warps a person’s perception of themselves anyway; add on all of the trauma Magnus has undergone, and in such a short period of time, and it makes sense that he’d find it easier to do this for somebody else, than for himself. I don’t think this makes his decision or his reasoning any less valid, but I’m getting a little off topic here.

 Magnus doesn’t know who he is without his magic, and in this episode especially, but not solely, it doesn’t feel like Clary cares – because without his magic, he can’t help her, and if somebody can’t help her, they cease to matter.

 (Again, this is my perception.)

 Speaking of people who only matter if they can help Clary – let’s talk about Cain. ‘Cause I haven’t seen a lot of discussion on him, and I feel like he deserves the attention.

 Cain has lived with this guilt of succumbing to Lilith’s manipulation and killing his own brother for longer than I think it’s possible for us, as the audience, and the characters of the show to understand. You can see it in his eyes, hear it in his voice – he carries this burden with him, and it’s suffocating. Inescapable. He couldn’t get rid of his mark, so cruelly named after him, and now he’s stuck living in a sewer, living off rats, because he’s dreadfully invincible. I have no doubt that he still felt Lilith’s hold on him, like a shadow, constantly creeping around him, that sensation that there’s something over his shoulder, something behind him ready to attack, but there’s not, there never is, it’s just him and his guilt and the sick crawl of Lilith’s voice taking hold of him, the drowning ache that never leaves, because if he’d been stronger, his brother might not have died.

 The last thing he wanted – or needed – was to see Lilith again.

 I can’t even imagine how that would have felt. Seeing the woman who destroyed you, knowing that nothing could ever keep her locked away, that there was no cage that she couldn’t break out of – he probably felt her power leaking out, creeping under his skin, whispering to him even as the direction of her voice was focused on the others. From the moment she addressed him, she had him hooked. Just as he knew she would. Because he warned them – he told them he wouldn’t do it. The only reason he helped was Simon – because he related to Simon, because he could see the guilt in Simon and knew that was no way to live, because he wanted to save Simon from suffering a fate as bad as his own. Cain trusted Simon. Because Simon trusted Clary. And now, he’s stuck with his abuser, because the plan failed just as he’d told them it would, because once again, Clary only thought about what she could gain out of this, and not how it would affect anybody else.

 Because when Clary wants to jump, she doesn’t take the time to notice who could be supporting her fall.

 You know who often has to take the fall for Clary’s actions? Alec.

 I cannot see the actions of this episode as anything less than taking advantage of the fragile situation that Alec was in, for Clary to get what she wanted. The love of his life – and I refuse to believe that Clary doesn’t recognise that, for all of my complaints I don’t think she’s actually stupid – was lying unconscious in the infirmary, and really, none of them could be certain that he’d be okay, that there wouldn’t be further consequences when he woke up. Because, again – he was unconscious!! And Clary, honestly thought – hey, there’s this rune tying me to my psychotic sibling and it’s torturing me so instead of formulating an actual plan and thinking through options to get rid of it, I’m just going to go ahead and summon the mother of demons, to get rid of it for me, and darn the consequences. Never mind the fact that the Head of the Institute has yet to hear of this plan, let alone sanction it - he’s too busy worrying about the health and well-being of his unconscious boyfriend, so why bother him about it and get clearance on a dangerous mission like this, when we could just, go ahead and do it anyway.

 (Because even in this fragile state, Alec never would have sanctioned it.)

 Clary doesn’t take a second to think about the consequences this could have on Alec, and she never really has when it comes to missions; the only thing she has ever considered is how it can benefit her. Stealing the mortal cup from the Institute? Sure, why not. It’s super dangerous and can be turned into a weapon if in the wrong hands, and is locked away for a reason, but rules are made to be broken, right? Season one, whilst frustrating, could be brushed off as Clary just not quite understanding the power structure – sure, Jace did, and he should have done more about making it clear to her as opposed to just going along with her plans because he was thinking with his stele, but again, season one.

 And, sure, there’s that bit in 2x10 where Alec has spent the entire night searching for Magnus’ body in the Institute because, despite his best wishes, he can’t deny the possibility that Magnus is one of Valentine’s Downworlder victims, and Clary remembered that they portalled in – cause, Magnus made the portal, as far as I can remember – but she lost him after that, and hadn’t even thought since then about his whereabouts, or his safety, or even considered that he might have DIED. But, you know. Season two.

 This is season three. The second half, for that matter. And Clary is still thinking with herself in mind first, without even a second to regard how it affects others. If the Clave find out that Shadowhunters under Alec’s supervision took a traitor’s weapon, adjusted it so that it was capable of electrocution and used it to trap a Greater Demon – and Lilith, at that – only for her to end up escaping, all whilst he was preoccupied with his warlock boyfriend/technically making threats to the High Warlock which could, if Lorenzo was so inclined, damage relations between the Institute and the High Warlock – well. To say that they wouldn’t be impressed would be quite the understatement. He could lose his title over this. And then what? Who is going to save their asses from suspension/the silent city then? To be quite crude; if the Clave find out about this, and then pair that with Alec and Isabelle’s investigation into Project: Heavenly Fire, Alec would be fucked. They wouldn’t give him the Institute after that, and he certainly would no longer retain the reputation he spent so long building back up after his not-wedding. I don’t know if Alec would care that much about his reputation, he seems quite content with just doing what he wants and letting people’s opinions be exactly that – their opinions. Of no matter to him.

 However, that doesn’t automatically make them go away. There would still be people dying to see Alec fail, to see him crash and burn, to talk shit behind his back because of their own feelings towards decisions he’s made, both in power and before it.

 Clary doesn’t think about any of that – about anything, really, that doesn’t involve her. And it’s fucking exhausting. I want to like Clary, so badly, because she is a badass character and there’s a lot to admire about her. But I can’t love her when she’s so selfish that other characters are consistently suffering because of it. When sacrifices are made and her response is to completely disregard them in favour of achieving something that she wants. When episode, after episode – season after season – she’s allowed to just do whatever she wants without care to the consequences and how it affects others.

 Clary could be a fantastic, game-changing character. As it is, she feels more like a petulant child who throws a tantrum when she can’t get what she wants, and refuses to listen when she’s told something that she doesn’t want to hear.

 I hope my opinion of her improves over the season. But I won’t be holding my breath.

[princeandreis]

great comet -- explained!

so I was talking to @viennaleia who just recently started listening to great comet, and I remembered how hard it was for me to figure out what was going on. it involved a lot of googling, re-listening, genius lyrics, and wikipedia summaries. a mostly enjoyable but rather difficult process. so I decided I’d make an easy summary for those of you who are as confused about great comet as we all were when we started out!

warning: there are obviously hella spoilers ahead for great comet (and war & peace), so read at your own risk!

a few things -- 

one, this summary goes song-by-song narrating the plot and filling in gaps. great comet is an entirely sung-through show, so you aren’t missing any scenes by listening to the soundtrack. 

two, I’m using the Broadway version of the soundtrack to narrate. I’m not sure how different the off-Broadway version is.

three, I’m gonna try to keep this as bare as possible. I love great comet with my whole heart and I could talk about all of the themes and motifs and everything forever, but I’m trying to keep this just as a summary so people have less of a hard time with the plot.

so here we go!! this is gonna be super long so buckle tf up!!

act one

prologue ~ introduces the characters and tells you what you need to know about them. pretty self-explanatory so I’m gonna leave this one here.

pierre ~ he’s so complex that he can’t be summed up in a few words like all the other characters, so he gets his own introductory song. puts pierre’s existential despair on full display.

moscow ~ natasha and sonya, the two cousins/bffs, arrive in moscow to spend time with natasha’s godmother, marya dmitrievna, who is well-respected in society. they’re there to pass the time before their fiances get back from the war (in the book the circumstances are a bit more complicated, but we’ll ignore that for now). natasha talks about how much she misses her fiance, andrey, whose family she’s about to meet for the first time. marya assures her that all she has to do is make sure she gets along with andrey’s sister, and everything will be fine.

the private and intimate life of the house ~ offers the audience a look into how things are at the house of andrey’s family (princess mary and old prince bolkonsky, their father). bolkonsky is abusive and manipulative, which has left mary feeling like she’s the only one who can take care of him. she expresses her loneliness, and she and her father discuss natasha, who is coming shortly for tea. bolkonsky shows off his crazies.

natasha & bolkonskys ~ natasha arrives for tea, and it’s awkward. I mean awkward. natasha and mary immediately hate each other, but try to mask it with cold politeness. bolkonsky shows off his crazies, pt 2, and is super rude to natasha. she leaves in tears, leaving mary feeling horrible.

no one else ~ natasha sings about her love for andrey, begging him to come home. it’s beautiful and sad and fantastic. she just really loves him, dude

the opera ~  marya takes natasha and sonya to the opera, which is natasha’s grand moment of coming out in society. she’s wearing a more revealing dress for the first time, since she’s now considered a woman. she is flattered and bewildered by the attention she receives for her beauty. helene and dolokhov come in together, and it’s revealed that she’s cheating on pierre (her husband, who’s not there) with dolokhov. the opera begins, and natasha doesn’t understand it. she becomes kind of intoxicated (idk this part’s super weird sghjfdkhsdjfmv) by the lights and the crowd. anatole enters in the middle of the opera, and natasha is captivated by his looks. the opera continues, and anatole and natasha ogle each other from their seats and it’s weird. the opera concludes and anatole enters natasha’s box.

natasha & anatole ~ natasha and anatole get to know each other a little. and by that I mean anatole is super thirsty and natasha doesn’t know what to do about it. she is frightened of how much attraction there is between them. anatole asks her to come to a ball that’s happening at his house soon, but she doesn’t give him a straight answer.

the duel ~ anatole greets pierre, his friend, and invites him to go to the club with him and dolokhov. pierre accepts. they go to the club, where a raucous party is happening. pierre drinks a bunch and talks about his alcoholism and sadness. anatole tells his sister helene (whom he’s probably sleeping with on the side OOF) and his friend dolokhov about how thirsty he is for natasha. he knows she’s engaged, but doesn’t care. it also turns out that anatole is also married, but it’s a secret to everyone except pierre, dolokhov, and helene. dolokhov taunts pierre about how he’s sleeping with pierre’s wife and everyone knows it. pierre drunkenly challenges him to a duel (for honor reasons and whatnot). dolokhov agrees, because he’s a bitch and a “crazy good shot.” pierre shoots dolokhov, but he doesn’t really mean it and regrets it right away. he stands straight up, fully ready to die, but dolokhov misses, and is taken away to be cared for. pierre is declared the winner. anatole asks helene to get natasha to come to their party, and she agrees. he helps the inebriated pierre get home.

dust & ashes ~ pierre reflects on his brush with death, and regrets how much of his life he’s wasted looking for truth in places he’d never find it. he also talks about love and stuff and it’s full of cool themes. it’s drunken existential crisis 101, but he decides he’s ready to change and live a better life. inspiring af 10/10.

sunday morning ~ natasha and sonya light a candle in front of a mirror and look into it, which is a russian fortune-telling tradition. natasha thinks she sees andrey lying down, and is frightened because she doesn’t know what that means. she reflects on what has happened with anatole, and wonders if she’s being unfaithful to andrey because of her confused feelings. marya leaves to confront prince bolkonsky about how rude he was to natasha. helene shows up while natasha is in her room trying on dresses.

charming ~ helene uses her charms and flattery (and a fair amount of bad logic) to convince natasha to come to the party at the kuragins’ (her and anatole’s) house. natasha agrees to attend.

the ball ~ natasha and anatole dance together, and anatole tells her he loves her. she resists his advances initially, but he puts a lot of pressure on her and kisses her. she admits she loves him, too, and they promise their love to each other.

act two

letters ~ people write letters. pierre writes to andrey at the war, updating him on life in moscow. he reveals that dolokhov will recover from his gunshot wound, and discusses natasha’s arrival in town. (if you didn’t know, pierre is super in love with natasha, who’s an old family friend, but he doesn’t really know that himself yet.) pierre talks about how he’s done a lot of reading as he searches for the meaning of life, and he’s used that study to do some funky math to “prove” that he’s meant to kill napoleon (yes, that napoleon. pierre really hates napoleon). natasha struggles to write a letter to andrey explaining what’s happened. she receives a letter from princess mary, who still feels awful about what happened between them and wants to try to be friends. natasha has no idea how to answer. anatole sends a love letter to natasha (which was written by dolokhov). he asks her to elope with him, and she agrees. she falls asleep with his love letter in her hand.

sonya & natasha ~ sonya finds and reads anatole’s love letter, and figures out what’s going on. she tries to convince natasha that what she’s doing is a terrible idea, and not just for her sake. sonya worries also for the sake of their family’s honor and wellbeing, since a scandal like this would ruin them. natasha doesn’t listen, and scorns her cousin’s advice, even telling sonya she hates her. she writes a letter in response to princess mary, telling her that things are over between her and andrey.

sonya alone ~ sonya resolves to protect natasha from ruin at all costs, even though natasha is extremely upset with her. she watches her cousin become distant and dreamy, and figures out that natasha has some kind of plan in mind with anatole. she misses natasha’s friendship, and will do everything she possibly can to keep her from harm.

preparations ~ anatole runs into pierre, and tells him he’s running off to get married. pierre, not knowing who he’s talking about, teases him since he’s already married. anatole and dolokhov prepare for anatole to abduct natasha, carry her off to poland, and marry her. dolokhov tries to convince anatole it’s a stupid idea, but anatole won’t listen and he relents. balaga, the driver they hired, arrives.

balaga ~ this is a fun song that’s just kind of a break from plot. it explains how balaga is a longtime friend of anatole and dolokhov’s, and is an absolutely insane driver who loves drinking (especially while he drives).

the abduction ~ anatole throws his “bachelor party,” so to speak -- it’s his last hurrah before eloping with natasha. pierre joins in, still unaware what exactly is taking place or who anatole’s running away with. the party sets out for natasha’s house, where anatole’s plan is set in motion. a maid leads him into the house to collect natasha, but he is stopped by marya. he and dolokhov make their chaotic escape.

in my house ~ marya scolds natasha for her actions, and sonya tries to comfort her. natasha throws a temper tantrum, and refuses to admit she or anatole did anything wrong. she goes back to waiting for him at her window.

a call to pierre ~ marya sends an urgent letter to pierre, begging him to visit her. she explains the situation, and he’s infuriated. he reveals that anatole is already married. marya asks him to send anatole away from moscow, and he accepts.

find anatole ~ pierre rushes around moscow trying to find anatole. he enters a club, where patrons are gossiping about the elopement. pierre shuts down the rumors, preserving natasha’s honor. natasha is told that anatole is married, and she is destroyed by the news. pierre returns home, where helene is with her brother. pierre insists on speaking to him alone, to which he agrees.

pierre & anatole ~ pierre confronts anatole about what he has done, threatens him, and demands any letters he has from natasha. (onstage, natasha poisons herself.) he then tells anatole that he must stay out of moscow forever. anatole leaves for petersburg.

natasha very ill ~ sonya reflects by herself. natasha has poisoned herself and is safe now, but is still very sick. andrey is due to return, and tensions in the house run high.

pierre & andrey ~ andrey returns, reunites with his old friend pierre, and they discuss what has happened with natasha in his absence. he has heard the rumor that she wanted to elope with anatole. andrey tells pierre that even though he knows it would be the right thing to forgive natasha and ask for her hand again, he just can’t do it. he leaves pierre with all the letters natasha had written him.

pierre & natasha ~ pierre visits natasha to return the letters. he fully intends to despise her for her foolishness, but his heart is broken by her childishly pitiable state. he does his best to comfort her, even though she despises herself for what has happened. he tells her that were he not a better man -- and unmarried -- he would propose to her right then and there. grateful, natasha gives him a loving glance and leaves the room in tears of relief.

the great comet of 1812 ~ getting into his sleigh, pierre reflects on all that has happened. something has radically changed within him because of the way natasha looked at him, and he feels hope for the future. he sees the great comet of 1812 in the sky. this specific comet is supposed to be an omen for terrible tragedy, but for pierre it symbolizes joy and new life. the show ends with a sense of peace, hope, and love.

[captainmazzic]

The Ahsoka Novel Review, or, Goddamnit Star Wars, Part CXXVIII

Under a cut because this thing is long as fuuuuuck

...Okay. That was... Interesting.

I’m just going to ignore the first part where the author pretends to make Ahsoka have some sort of compassion-sympathy for Maul while taunting him and throwing his disability in his face at the same time. Was there even any point to having this little exchange? It’s not mentioned later, Maul has no bearing at all on this plot, and nothing Ahsoka does here is relevant even as a learning experience for later. It’s just... there. Token inclusion to draw in the Maul fans, I guess? Or.. alienate them yet again, I don’t even know.

This is how it starts. *laughing*. It gets so much worse. And... has a few moments where it shines, I admit. Anyway. Let’s get this party started. 

So pretty much we follow Ahsoka around for a few years while she mopes about not being an Official Jedi™ and develops a major martyr obsession. Coming from Ahsoka’s mouth, it just seems so out of place, incongruent, and it gets old real fast. She regrets leaving the Jedi Order before Order 66 happens, she wishes she hadn’t survived while the rest of the Jedi died, she wonders why she lived when she didn’t “deserve” to because she “deserted” the Jedi, etc. etc. ETC. I am so sick of Heroic Characters™ with survivors’ complexes that don’t even fit their fucking character. We need another one of those like we need another vampire bemoaning immortality as a curse, or a burning stick to the eye. I’d rather take the burning stick. Ugh.

Anyway. When Ahsoka isn’t being that particular brand of OOC, she’s being a mouthpiece for... something. Someone. I’m honestly not sure who. Or why. But she says stuff that makes no sense for someone like Ahsoka to say, and you get the impression that she says it just so that the author can have these things out in the open. That whole making the crystal bleed? We won’t get started on that just yet. But yeah. What. The. Fuck. And she says stuff about Barriss being.. a... bully? Did I fucking read that right? Like I mean she says some things about Barriss that are accurate (it was cruel for her to try and let Ahsoka take the fall for the temple bombing, she didn’t trust people, and she was afraid of the war), but I’m not sure where she was ever a bully? Oh wait I guess that’s just the book being badly written. 

And oh my god. Let me just. Excerpt a few… unfortunate word choices:  

“The mechanisms put in place during the Clone Wars had been twisted for the Empire's use, and every day the Emperor’s hold grew tighter. She almost admired Palpatine for his ability to pull off a long-term plan – except for his being evil and all."

About the Grand Inquisitor:

“His agents must follow his every order as though the Emperor himself had given it. That sort of power made him feel very strong.”

Also about the Grand Inque:

“As he stalked through the corridor, his agents scattered out of his way. They were all afraid of him, which he liked rather a lot.”

And my personal favourite cringe-worthy writing:

“Dark crystals were made, too, but not in that holy place. They were plundered from their rightful bearers and corrupted by the hands that stole them. Even rock could be changed by the power of the Force, bleeding alterations until their color was the deepest red. The balance was finely staged between the two, light and dark, and it took very little to upset it.”

...What in the flying freebasing FUCK does “bleeding alterations” even fucking MEAN? What balance? Why is it staged? Why, if there is supposed to be a “balance” in the Force inside these bits of mineral, are they supposedly inherently “light”? Why are the Jedi their only “rightful bearers” (I mean, other than the Jedi arbitrarily laying sovereign claim to anything Force-related they set eyes on, whether meant for them or not)?

Oh, well let’s see here. Ahsoka is here to help.

"I've never seen white ones before," Bail mused.

"They used to be red," Ahsoka said. "When the creature had them, they were red. But I heard them before I ever saw him on Raada, and knew that they were meant for me."

"You changed their nature?" he asked.

"I restored them," Ahsoka replied. "I freed them. The red crystals were corrupted by the dark side when those who wielded them bent them to their will. They call it making the crystal bleed. That's why the blade is red."

Okay so basically Ahsoka met an Inquisitor (whom she, persistently, ever so kindly calls a “creature”, more on that in a minute), killed him, stole and destroyed his lightsabers, then ripped the crystals out of them and put them in her own shiny new lightsaber hilts she just made. They apparently faded from bright red to colourless. (Which, honestly, to me, in my ever so humble opinion, interprets as “I just killed everything unique and vibrant about these crystals and drained them of all individuality, just like the Jedi do to people when they ‘free’ them :D :D :D”. But I mean. That’s just me.) This crystal bleeding is fucking Jedi folklore superstition. It’s stupid. It’s even stupider than the old “synthetic crystals are unnatural so of COURSE the Sith use them, m’kay” canon.

I’m just. So annoyed. So very annoyed.

So anyway. Ahsoka killed an Inquisitor, the Sixth Brother. She and a little girl sense him as a shadow at first - “The shadow was almost certainly one of the dark side's creatures. Ahsoka had no idea what sort of thing it might be, but whatever it was...” And that’s that. He’s “the creature” for the rest of the time he’s referred to. Seems like she hung around Kenobi way too fucking much, his style of Jedi seems to have rubbed off on her. Sigh.

But then she protests.

"I'm not really a Jedi, you know," she said. "I left the Temple, turned away from the Jedi path."

"If you're not a Jedi, then what are you, Ahsoka Tano?" Bail asked. "Because to be honest, you still sound and act like a Jedi to me."

OF COURSE SHE DOES. SHE IS A GODDAMN JEDI. A ~Grey Jedi~ is still a fucking JEDI OH EM FUCKING GEE. They’re Jedi Lite. Half the calories, most of the judgment, twice the taste, all the guilt! Goddamnit Star Wars. You’re not fooling anyone. Stop trying.

Moving on.

So then we have the Unresolved Sexual Tension between Ahsoka and Kaeden. Which largely means… Unrequited Feels on Kaeden’s part and�� nothing else.

"Ahsoka!" Kaeden ran toward her, but stopped short of throwing her good arm around Ahsoka's shoulder. She knew that lightsabers were not to be trifled with. She could almost feel the power pouring out of Ahsoka anyway. It was amazing. "I could kiss you."

Ahsoka stopped in her tracks. The look she shot Kaeden was mildly confused.

"Not now, I mean," Kaeden said. She wanted to laugh for the first time in weeks but thought that might just be the hysteria setting in. "My timing is terrible and you have all those Jedi hang-ups. I just wanted you to know in case we die."

"Oh," said Ahsoka. "Well, thanks."

….. Oh. Well, thanks.

*beats head against wall* WOULD IT HAVE KILLED YOU, STAR WARS, TO HAVE GIVEN US JUST A LITTLE BIT MORE. I mean, I’m all about canonical asexual and/or aromantic Ahsoka, that would have been fucking rad, but they’ve already given us the fiasco that was goddamn LUX BONTERI, so The Powers That Be already canonically ruined that for me. Bi or Pan or Lesbian Ahsoka would have been really awesome too. Just… anything but Clueless Insensitive Straight Ahsoka for canon, please. PLEASE. We have enough of those characters already. Ahsoka doesn’t need to be one of them. Just my opinion though. Of course. *sigh*

...And then we have a brief, very out-of-place flashback from Anakin’s POV, that actually has zERO to do with anYTHINg, but it’s heartbreaking nonetheless because it’s just before Ahsoka is introduced and Anakin is still thinking that Ahsoka is going to be Kenobi’s apprentice.

"Anakin wasn't entirely sure what his place next to Obi-Wan would look like once his friend had a new student. Jedi weren't as married to the concept of two as the Sith were, but most of them acted singly or in pairs. It was one of the reasons Anakin had never put in for a Padawan of his own. He didn't want it to look like he was pushing Obi-Wan aside. Now, Obi-Wan had gone and done it first, and Anakin still wasn't sure how he felt about it."

He didn’t want Kenobi to feel sidelined. I’m. Just. Goddamnit Star Wars don’t give me Obikin feels when we already know Kenobi turns into the most asinine, horrible person in all the Jedi next to, maybe, Yoda.

Anyway. Let’s move on again.

Oh yeah. So there’s Kolvin. He’s a Rodian.

….. Now, I don’t know if I’ve mentioned it very often, but one of the things I fixate on in Star Wars is the frequency of Rodian deaths. Almost all of the named (and a bunch of the unnamed) Rodians we meet end up getting killed. A good majority of them on-screen or in-story. Rodians are one of my favourite species in the entirety of Star Wars and it really upsets me that the greater majority of the ones we meet get axed quickly after we’re first introduced to them. And Kolvin’s no exception. We are pretty much introduced to him solely for the sake of watching him die, graphically, a chapter or two later. I’m just… furious beyond being capable of physically showing it. It’s exhausting.

And I think my final criticism of the book is the entire story behind the Empire even being on Raada in the first place. It’s such a fabricated, “Oh I guess we need a reason to fuck up Ahsoka’s life again via the Empire” kind of plot. It makes LITERALLY ZERO LOGICAL SENSE, even if I stretch real hard and invoke believing at least six impossible things before breakfast. There is NO reason why these genetically engineered plants would be useful. The Empire would not go through all this trouble to search for productive agricultural worlds only to use them once (ONCE??) and then give it up as a barren wasteland after first use. That is so unproductive, unprofitable, and inefficient. Why would they do that, and then leave the farmers to try and scrape by after that? Such a waste of resources. We already have PLENTY of examples of what the Empire does with agricultural worlds. Ones that MAKE SENSE. They come in, set up their infrastructure, heavily regulate work schedules, and implement their own ideas about what needs to be grown. And guess what? It’s stuff that they can plant indefinitely, because that keeps the population working under tight, regulated control. It keeps them in a routine that is hard to break. It keeps them busy, it keeps them tired, it keeps them distracted. It maintains a level of familiarity that’s just close enough to normalcy that they will be hesitant to do anything to break it. These are useful things to the Empire. VITAL things.

Instead we get a moustache-twirling saturday morning cartoon where the Empire sweeps in, destroys everything, cackles maniacally, knocks over your sandcastle, and kicks the puppy on the way out. Why is it so fucking hard for these hired writers to come up with a good villainous reason for the villains to be villainous? Honestly they have material RIGHT THERE. USE IT. For fuck’s sake.

Okay but with all this criticism there were a couple highlights.

There was a Black Sun agent. They didn’t last too terribly long as a part of the story, but they’re referred to only with they/them pronouns for the entire time they’re around, and that. Pleased me. Greatly. And there wasn’t even some concentrated effort to “find out their gender” or idle speculation or some other stupid bullshit. It was very much a non-issue, and that also pleased me. Good job. Gold star.

And despite the fact that Ahsoka had a lot of damning things to say about Barriss, she had this to say as well:

“She had a point about the Republic and the Jedi. There was something wrong with them, and we were too locked into our traditions to see what it was… If we'd listened to her – really listened – we might have been able to stop Palpatine before he took power."

In the text, that statement is surrounded with too many disclaimers and defensive finger-pointing for me to be entirely happy with it, but it’s something, and I’m glad Ahsoka was the one the writers allowed to say it.

I really liked it when we had some glimpses of Ahsoka’s actual questioning nature whenever the story got in her head. It didn’t happen very often at all, most of the time she’s just developing her martyr fixation or bemoaning her existence, but every now and again we get a tiny peek of the Ahsoka that captured my heart towards the end of The Clone Wars, walking away from the Jedi temple and saying that she needed to figure things out on her own, without the Jedi, without Anakin, without the crutches and restrictions that the Order held her down with. If only we’d gotten more of that Ahsoka throughout the book, it could have made the story shine.

[warlordgab]

Analysis: Romance in One Piece

Note: I’ll be posting condensed versions of this analysis in other sites

A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers “Who lives on illusions dies from disappointment” – An old Puerto Rican saying Most of us know One Piece is a very popular manga. Its high quality and popularity depend on several factors, among them we could name memorable and likable characters along a deep, compelling, fun and action-packed story. The One Piece many know and love wouldn’t exist without the balance between these factors When talking to at least 3 different One Piece fans, each of them non-shippers who analyzed the manga they all enjoy, I found interesting and pretty sound perspectives of the One Piece story and its nature. All of them value characters, story, development, consistency, and logic; something I can totally relate to But I also found a pattern; these 3 guys shared one single outlook on the very same subject: shipping. Regardless of their expectations, all of them expressed distaste for shippers’ general mindset and “odd” viewpoint: One of them called shippers out for ignoring characterization and very clear and direct statements made in the manga. His attention was centered on a Luffy pairing and how it contradicts his own character. Oda once explained that he writes Luffy as someone pretty straightforward when it comes to expressing his thoughts and feelings, and this non-shipper said with brutal honesty that for the discussed ship to happen we would need to disregard and/or discard the very core of Luffy’s character. Meaning Oda would need to stop being consistent and faithful to his own story and characters The next one explained how shippers tend to turn a characters’ relationship into a sappy teen love fantasy that doesn’t match One Piece at all. His analysis also exposed how integrating this kind of underdeveloped “love” into the story would severely damage One Piece originality, ruin the series and needless to say destroy the likable dynamics between several characters as well as their own development. This fantasy, this so-called “love”, is what the vast majority of shippers support and defend. The same kind of “love” most non-shippers, fans, and critics dread The third non-shipper gave me a more detailed explanation: this is even more rough than the other two as he describes that the common shipper mentality of “he/she likes her/him so they should be together” can “only be likened to that of elementary schoolers”. And how shippers take every little meaningless detail and blow it out of proportion with no regard for context, legitimate bonding or the canon story! But we can’t put all the blame on shippers. Many manga authors seem to have no idea how to write a character-driven series or complex character relationships. In fact, mainstream shonen writers have their fair share of guilt into promoting this common shipping mindset by being notoriously bad at writing romance. Which results in underveloped premises that leave your average fan skeptical, and your average critic disappointed at a poor portrayal of emotional bonding and a severe lack of cohesive narrative in the "romantic love" department This is the reason why many fans, critics and non-shippers hold the shippers’ perspective in a very low regard. Just like the third non-shipper states: “The blushing, longing stares, corny ass lines etc. That kind of poorly portrayed romance is the kind of thing dreaded by the average fan because it reduces the quality of One Piece to the level of such poorly written series” So an author needs to build a relationship the same way one person would construct a building: stablishing a strong foundation on companionship, respect, trust, signifcant moments, and emotional bonding. All of this must come before reaching the status of “romantic interest". In relation to this subject, there’s a trope called “First Girl Wins”, a portion of its description truly fits this criteria: “From a [extradiegetic] point of view, the Law of Conservation of Detail suggests introducing the Love Interest early. An early introduction allows you to get the audience interested in her and rooting for her, gives you space for Character Development, and gives her relationship with her (eventual) partner the most time to develop organically. And with all that said, it's such a common device that in all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017 Notice this isn’t a cliché, this is a literary device to enhance the story. Pairing up two characters without meaningful moments, emotional build-up and development, is the equivalent to lazy writing. Having such elements firmly stablished for two characters and then deciding to go for a different “route”, pretty much wasting a well-developed relationship for the sake of a “weaker” premise, would be the equivalent to bad writing Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of course not! Is he, a man who planned the ending years ago and is still sticking to said ending, a bad writer? Being number 1 in Japan and having such a loyal fanbase all around the world prove he’s not! Do shippers want Oda to be a lazy/bad writer? Facts already answered this question as many (although not all) fans value their own fantasies and delusions over the manga canon and/or the author’s take on the characters and their relationships Many (but not all) shippers now have a war. Not only against rival ships but mainly against One Piece story and consistent development. Yet as the old saying goes, those who live on delusions will have to eventually face reality and disappointment, because Oda is not a lazy/bad writer like some people here would want him to be

B) Romance Dawn AKA The not so secret origins of One Piece “If we don't know where we are going, it can be helpful to know where we come from” – Jostein Gaarder When debating posible outcomes, fans rarely look back at the time when One Piecewas a still a work in progress. Taking a look at Romance Dawn V.1 and Romance Dawn V.2 helps us to see there are constants present in all versions of these Works that made it into what would later become the most popular manga in Japan But before discussing those constants I would like to clarify the meaning of the word: “Romance”. There are people who doesn’t really grasp the concept of “Romance” both One Piece and Oda work with. Luckily the first two non-shippers I meantioned shed some light on this subject: Romance: "A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful" "A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place" "A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes" – thefreedictionary.com, 2016 "A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious" –  Merriam Webster, 2016 Romantic: "Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized" "Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous" –  Merriam Webster, 2016 These definitions match pretty well One Piece and Oda outlook on this concept. Even Oda lampshaped this by giving his own translation to the title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”) So Oda’s “romance” covers a wide variety of themes: Adventure, heroism, mystery, virtue, idealism… we can find comedy and tragedy, happiness and sadness. And among the virtues and the idealism we find companionship and love. As the second non-shipper I mentioned explained One Piece is pretty much like an “Adventure novel”, which is why we’ll find in One Piece many of the tropes commonly used in those books Among those tropes, we find a couple of constants in all versions of “Romance Dawn”

The golden-hearted protagonist and the “First Girl” who doubles as a female lead. Think about this "what if" scenario: If things would’ve played different back then and One Piece never went beyond “Romance Dawn V.1”. If that story were to be elaborated futher, which two characters would had shared the most moments to become endgame? The answer is pretty simple: The golden-hearted protagonist and the female lead! But when debating, the weight of the argument depends on edvidence so we need to rely on what we can confirm. And we confirm this, what’s the constant in Luffy’s story in all versions of Romance Dawn? a Nami-like character

This becomes even more interesting when we discover that at an interview at “Manga no Chikara” and others, Nami was supposed to be the first one to join Luffy but her debut was postponed by Oda’s editor at that time. Edvidence of this being a last minute decision remains on the first color cover:

Yet as the second non-shipper noted: “her role as secondary protagonist was not altered” for “Nami shares with Luffy the largest character development in the entire series”. And as explained here we already know how the trope goes when someone seeks to write a natural growth for an emotional connection between two characters 

In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [....]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami”

In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective

C) LuffyxNami AKA LuNa/LuNami “Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley

Many shippers tend to ignore and disregard the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships

To makes matters worst some of them even deem as illogical any argument solidly based on these factors. While considering stuff like lines, frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as legitimate proofs of a plausible outcome! In fact they even value comparisons to other series with a different tone, themes, and characters over anything that the One Piece author conveys through his work There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing! But in order to reach a conclusion that remains true to One Piece and its nature we have to rely on the very same foundation that was already described several times: mutual trust/respect, faith on one another, significant moments, stress in their relationship and emotional development. If the story doesn’t let you build your premises on these elements, the conclusion you’ll reach will obviously be flawed and stray away from what One Piece really is So here I’m not only defending the premise I strongly support; I’m defending the very same story and build-up that contributes to this bond’s natural growth: As explained before there’s nothing explicitly romantic about major interactions. But given we’re dealing with a good and dilligent writer, what we’ll get to see is how big to small moments stablish an emotional connection between two characters, and how that becomes the base for a even greater growth First we have the themes of trust and faith: At first Nami doesn’t trust Luffy very much, out of her clear distate for pirates, until witnessing how far was Luffy willing to go to selflessly help others. Even then Nami treated their relationship as a mere business and later betrayed the crew Still Luffy always trusted Nami to the point of putting blind faith in her. Even when given reasons not to do so. One remarkable example is when Luffy was informed by someone trustworthy (Johnny) that Nami apparently “killed” to Usopp, and Luffy not only kept holding onto his blind faith in Nami but he also threatened Johnny for saying such things about her

This becomes something remarkable when we take into consideration that Zoro quickly gave up on Nami and later tried to attack her without even a second thought! While Usopp just wanted  the Merry back…

And it would later become even more impressive in the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of wounded man he didn't even know, and even doubted Robin during Water 7 until Nami told him and the crew the truth behind Robin's desertion:

But what else makes this situation with Nami any different from others we see in the manga? Some might point to the saga where rescuing Robin was the primary objective; but in Robin's case Luffy knew her life was in danger for Robin was planning to die for the crew, and he got the resolve to save her only after learning the truth. Others might point to the current arc, but he saw right through Sanji's act and got desperate to rescue him only after hearing his life is in danger. Here, Nami’s life wasn't in danger as far as Luffy knew. And he constantly try to reach out to her despite her harsh attitude and the fact he knew next to nothing about her past and her current circumstances. It was only when he saw her cry he got enough motivation to beat Arlong, and it was only when he got a small glimpse of what she went through that he lost it! How does Nami respond to this? Initially she wanted to get Luffy out of her villaje and her life. While Nami indeed grew fond of Luffy and the others she wasn't willing to bond with any of them; she held on her distrust of others. But that changed when she finally hitted her lowest point, when she finally lost all hope. Then it comes Nami's first major development as character: she realized she needed to rely on someone else, she realized Luffy was her only hope Nami decided to rely on him. The following scene marks the first time of many when Nami relied on Luffy to a emotional level. And the first of two times when Luffy entrusted his treasure to her in a touching gesture to provide comfort and hope:

From the very beginning the emotional build-up between Luffy and Nami was a key factor for one of the most meaningful and memorable moments in One Piece. The moment when Luffy becomes Nami’s “emotional anchor” The effect Luffy had on her character was also quite powerful as we could see during the 2nd pass of the hat: back then at Skypiea arc Nami could still panic at dreadful situations: 

But as soon as Luffy gave her his treasure, the panic stopped and when he was later removed from the battle field, Nami was capable of drawing enough courage from Luffy to face the big bad from that arc:

Not to mention Luffy’s final move against Enel was combined effort of the two as well as an impressive display of mutual trust/faith We can continue to appreciate their development even futher as the story goes on. As someone already pointed out, Nami during Water 7 displayed an impressive resolve and determination, but as soon as she got the chance to explain Luffy their situation she opened her heart to express how she felt, her anguish and her distress. When Luffy reassures her that he will save Robin, she doesn’t cry anymore until she reunites with Robin Their bonding is even futher explored in the only One Piece movie fully written by Oda: Strong World. As this is the author’s take on their relationship is still a valid argument to support Luffy/Nami development: We already considered how impressive Luffy’s blind faith in Nami can be. So after listening to most of Nami's recorded message, Luffy gets enraged! Why?

Well, after all that time Luffy relied on his navigator without ever doubting her. He was likely expecting all his trust and faith in Nami to be reciprocated Turns out Nami does return that feeling! And why can we say that? Remember the movie's ending: Nami finds out everyone in the crew got her hidden "save me" at the end of her message... everyone but Luffy. Then when Luffy is about to play the recorded proof of Nami's unwavering faith in him, what does she do? She tries to get rid of the "edvidence" out of embarrassment 

It’s easy to see then why Nami seeked out Luffy for hope and comfort during Zou. And how she did something similar to what happened in Water 7: she opened up to Luffy

I said it before, since Luffy is Nami’s “emotional anchor”, it makes sense for her to keep strengthening her bond with Luffy. And given Luffy needs a guide to new adventures and someone “mature” enough to sometimes keep him in line, it makes sense for Luffy to grow closer to Nami She once summed it up pretty well: "He always talks big, but when it comes down to it, he knows nothing about the sea! He's severely lacking in the 'sense of danger' area! And he always overdoes it...if I left him alone, he'd die. And he's stupid, so I have to take care of him. That's why I'm gonna help him!" - Nami, chapter 596 Still, none of this is explicitly romantic in the traditional sense of the word. But just like someone who’s constructing a building, we start dealing with the foundations to then proceed to make a solid structure: a well-written relationship that enhances the story As someone once reviewed, Luffy and Nami dynamic doesn’t need to change for them to become endgame for they already have anything they need to finish that “building”. And that’s what’s being a potent pairing means: having everything to your favor for further development and growth. Luffy and Nami definitively have the major moments and the emotional bonding while remaining consistent to the One Piece canon to be considered a Potent Pairing

Bonus:

It's interesting we find other interaction that proves how comfortable is Nami around Luffy: 

She doesn't mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places But why is this relevant? In Thriller Bark we had a clear showing of how she reacts to pervs trying to accomplish what Luffy did here. She electrocutes them. We can confirm she haven't changed in this regard because at the end of Fishman Island arc Nami electrocutes a perv for trying to peek at her while she was taking a bath Another interesting detail about Nami's attitude toward Luffy is a change we see in WCI. Of course, we have the remarkable faith and trust Nami puts on Luffy by even boasting how him being the future Pirate King ensures their victory over Cracker's ability.

But the real change is when Sanji brutalizes Luffy. Nami already stated she felt guilty for what happened when Sanji got taken. But when Sanji did his "little" number on Luffy her attitude changed, she not only begged him to stop but was also promising they'll leave if he did (Luffy clearly disagreed on that)

After seeing the way Sanji treated her captain, Nami did something the could seem pretty justified because of what happened: she slapped Sanji and then sarcastically played along Sanji's "royal" act. When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:

The Japanese text for Nami's dialogue reads: "Luffy!! Why?! No matter what his reasons are, after he did all that to you…" The term she used here for the line in bold conveys the idea of severe mistreatment. She was obviously mad at the way Sanji attacked and badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more emotion to the prospect of getting Sanji back than Nami, she kept displaying far more concern for Luffy as the chapters went on Nami is now showing, little by little, more of an emotional attachment to Luffy. Which makes a lot of sense given what we saw in their story