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clonecumber · 2 years

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Three of those character ask things from way back that I realize now I only had posted on Dreamwidth. Whoops.

Etain, Corr, and Kal. As always, mind the tags.

Anonymous: Etain

Ohhhh, that's a toughie. All right, I don't know you anon, but you're asking about a controversial character so...proceed with caution?

First impression : I don't think I had very many strong feelings about Etain, but I remember being in line with Kal's take on the situation regarding her pregnancy. Reading it now, there are aspects to it that I feel are way more complicated than how the narrative (and KT's multi-book gaslighting campaign) present them, so I've eased up on that, but that whole plot is still...Eugh. She wasn't really a preferred character, but I grudgingly tolerated her, I suppose.

Impression now : *drags hands down face* Look, I have done like...so much drafting in my head for months about specific Etain things and this is hard, okay. I nearly don't even want to talk about it without at least three separate whole entire papers to point to in order to flesh this shit out, but I'm going to try. Etain's very complicated, primarily because, from a Doylist perspective, knowing anything about how the Jedi work, so many things about how she's written just. Don't fucking make sense. They really don't make sense. Trying to Watsonian the mess is more than a humble ask game can hold. I'll do my best, but yeesh.

(PS. I've already made a separate post talking about how I feel Etain's badly underutilized as a character as well, so I won't be talking about that much either, but I still hold true: Etain had amazing narrative-relevant talents and I wish that had gone somewhere.)

But, Etain. She's actually pretty similar to Skirata in personality, I think. Not identical, but they have a lot of overlap, specifically in their flaws and way of behaving toward others, though the way they express these behaviors tends to differ. The core seems the same, though. Etain obviously has shittier self-esteem, but I feel like they both have a fear of abandonment/need to be special that drives a lot of their behaviors, but Etain's more aware of it and Skirata really isn't. I also think they're both very driven by heart-over-head, both compassionate but so starry-eyed with the idea of doing good for people that they steamroll the same people they're trying to help, which leads into them both having major problems with boundaries and basic communication skills, and both very prone to "othering" anyone not in their in-crowd, to differing degrees of severity. If I was going to Watsonian Skirata's lashing out at Etain throughout the books, I'd say the reason might be besides Etain being a less conventionally attractive woman, is rather because Etain and Skirata are too similar, and while she's alive Skirata is probably subconsciously reacting to that - always jumping to the worst possible conclusion because he sees himself in her, and Skirata has a very complex relationship with his own flaws. Case: Skirata attacks her for things his own POV will sometimes point out are things he does too, sometimes to the point of seeming confused at himself for why he's reacting so strongly, though this never actually goes anywhere since it neither changes Skirata's behavior toward Etain nor makes him examine himself in any more detail. I do think it says a lot that it's there. It's also an interesting compare and contrast exercise, primarily for the following reason:

Because where Etain's different is that 1) none of the other characters ever let Etain get away with shit, so most of the things she pulls get her called out promptly and severely and 2) Etain actually wants to get better about how she treats people. She struggles sometimes and doesn't always get it right, but she's nearly always willing to listen to criticism and will try to do better come hell or high water, even if she doesn't really know what that looks like and ends up forging determinedly ahead in entirely the wrong direction. The spirit is there. I really, really wish therapy existed in Star Wars, because Etain would really benefit from it.

I also find her conversations with Darman where we get to see her from Darman's POV interesting to read, especially later in the series. Around Darman she's always more confident and secure, and it shows, I think. The neuroticism we see from other outside-in looks at Etain (basically only Ordo and Kal, really) dials down significantly, and without the anxiety you get a young woman who's a little stiff and abrupt, even a little stern, but also surprisingly funny and kind. Someone who maybe doesn't smile often, but man, when they do. I feel like we also got a bit of this during her interactions with Mereel, since I remember her POV chapters with him being much less...self-disparaging. So I mean, at least she had two people in this clan she could relax around.

I like her character quite a bit now, actually, lol.

Favorite moment : Etain saving Niner and Fi from shrapnel in Hard Contact. She took initiative on her own and was so pleased with herself afterward; it was kinda cute.

Idea for a story : Instead of Etain dying to save the trooper, it was Skirata, for any reason. Doesn't really matter. I feel like losing Kal in that hero's journey "Death of the Mentor" sort of way would have had a much more interesting impact on the story afterward and maybe saved it from a bit of its...uncertain floundering in follow-up story lines. But also Ordo and Etain, on-scene, having to deal with that, and then the associated, longer-term fallout. It probably wouldn't be about Etain, but the narrative could ride around on her shoulder while everything was happening, so it would be Etain-centric. The dynamics alone would be interesting.

Unpopular opinion : This is nowhere near comprehensive, but: I don't really think Etain tricked Darman into unprotected sex with the intent to get pregnant. I feel like there is reasonable evidence to suggest Darman and Etain were already having unprotected sex even before Etain came to her decision that she wanted kids with Darman someday, no false pretenses required. And I mean, sure, even if they were, I definitely feel like her thinking about the possibility of pregnancy in the future should have at least prompted her to start a conversation before continuing to have unprotected sex with him, but that's still a far cry from the idea she actively sabotaged agreed-upon birth control measures, which I remember was the predominant belief on the forums back when I first read these books as a kid. (Not even getting into the "but did they even have quality sex education" thing because that's straight up headcanon vs headcanon and that's a nightmare road that I will not touch.)

Favorite relationship : (Sorry, Darman, but) MEREEL. Etain and Mereel's friendship came out of left field, but I actually really, really liked it.

Favorite headcanon : That Etain's intersex. Possibly also trans or questioning.

walonvaus: Corr

Hi! Thank you for your comment, I really appreciate it! Sorry for the wait; I try to do these in the order I receive them and I had one on Tumblr just before yours.

Corr's tricky for me, and separating what I can draw from him in canon from the way kaasknot's fic fleshed him out in my head is hard, lol. I don't think I entirely succeeded. Not least because I'm falling asleep on my keyboard, whoops.

First impression : I do not remember. He sure existed?

Impression now : For a guy KT liked to use as a MadLibs booklet every time she needed a random character to do anything and then shoved off-screen at every opportunity, he sure managed to make himself interesting. His canon personality is a bit all over the place, but just his story in general? There's so much there. I'm still fascinated by the fact that apparently after finishing his training, Corr was still running with the Nulls for awhile. Presumably he was spinning his wheels until they had a placement for him, like what happened when Skirata recalled him from a mission he was in the middle of with Jaing, but instead of planting him back in the barracks the Nulls just...kept him. Which says something, I feel. Corr's just one of those guys who has an entire novel's worth of shit happening, but it's taking place entirely off screen. His life is a series of noodle incidents and he never talks about himself. Ever. And so noodle incidents they will remain.

Favorite moment : During O66 when Kal's trying to deflect Niner by dropping the bomb about the second army and Corr goes straight on point like a hunting hound so that when Niner starts to go, "That's nice, now back to the topic at ha-" Corr does everything short of slamming a hand over Niner's mouth. I think he actually says something like, "Niner, shut up," or something, with the implied, "What second army?"

Which is very rude of Corr, who up until this point has been characterized as being very careful around Omega in a Must Keep Hands And Feet Inside The Vehicle At All Times approach to this new squad thing. On top of being raised as a line trooper with far stricter standards of behavior. Telling his sergeant to shut up has implications coming from Corr that it doesn't coming from, say, Darman or Atin.

And, sure, it's the exact reaction that Kal wanted, which sucks, but at the same time I think it says a lot about Corr's own priorities as a Line Trooper himself, and a bit that it sort of speaks to me of his time running second to the Nulls' own missions. There's still a part of him that thinks like them, and just like they were Shook upon this discovery, so is Corr. That on top of it being a sudden, intense blow to him as one of the demographics most affected by the war, troopers just like him hit the hardest by dent of numbers and being last in line for everything, feeling the lack of support the hardest, who would hear of these reinforcements who exist but aren't being used or might exist and might be used and just...have a hell of a lot of feelings about it all at once. I just like the characters piece here, that he just doesn't have a reason to care about Jilka over the second army, for all the reasons listed above. Niner doesn't fall for it as an all-or-nothing trade, information on Jilka's situation or information on the second army, but if Corr does, he knows which one he picks. And that's a cool show of his priorities. Also probably something I'm overthinking.

Idea for a story : Corr still being treated like part of Omega once he and Atin make it to Mandalore and reunite with Fi. Just. IDK. A bonding activity. Something. Fi being able to talk to Corr about things Fi might still have a hard time trying to explain to Atin, maybe. Like, you know, maybe Corr's been there before or something.

Unpopular opinion : (I don’t think this series really has popular opinions, but we’ll work with what we have:) Corr still doesn't really understand the One True Marriage/Must Be In Want Of A Wife ideal that most of the rest of the characters in the series were raised with, so him having a "girl in every port" is less him deliberately "playing the field" and more his squad trying to sync his behavior through their own cultural lenses.

Really, Corr's just a friendly guy who sometimes has sex with people he likes, with zero expectations on either side or even the real understanding that there should be (which I wonder about anyway, since Star Wars doesn't have a sex before marriage taboo to my understanding, which would be funny if it was just Skirata but I digress). Those "girls" are his friends. That's literally it. He does not get why his squad mates keep chortling amongst each other and ribbing him about this. Or, he does. Intellectually. But he doesn't get it.

Favorite relationship : I really want to say Mereel even though I've been realizing slowly over the course of the last couple weeks that for all there is so much interesting about their potential dynamic, they basically never interact on-screen in the books? H o w.

All the Nulls he's canonically worked with, so Mereel, Kom'rk, and Jaing.

Favorite headcanon : Corr approaches Jilka flirting because he learned it as a defusing tool from Mereel and no one else was working with her to keep her from eventually snapping and, like, stabbing Besany or something. That's his sole motivation originally, and he's halfway winging it. How the relationship plays out after that - especially when it rapidly grows outside Corr's control on account of him not really understanding why using flirting tactics on someone you live with isn't really the best idea, and maybe or maybe not him actually forming a friendship/actual romantic interest in Jilka - varies to me, but my primary interest is in the culture clash potential.

kaasknot: Kal Skirata

Hi!

Juuust a forewarning, since I don't know if you've seen much of my typical rambling, but I have Strong Feelings about Kal Skirata's character, so. Be warned? Also trying to talk about this without dipping into a bit of TMI is impossible. If you don't want to deal with that, skip the first two impressions, please!

First impression : I first read these books up to True Colors (O66 and 501st came out later) all together when I was a young teenager nearly a decade before I'd finally start being able to admit to myself that I had been abused, and I adored Kal Skirata. He was just like my mom, except better.

Impression now : No argument that KT's main strength is her ability to create vivid characters. Kal as a character is incredibly important to me because he's one of the most perfect characterizations of an (unintentionally but still very) emotionally abusive parent I've ever read. And from a meta standpoint, using Kal - a safe fictional character - as a proxy to sort through my own understanding of my own treatment by my own mother was a useful exercise, since the parallels are so stark. The fact Kal doesn't ever do it on purpose is what matters to me too, because it's too easy for people to decide toxic people are that way by some grand calculating plan, deliberately maneuvering everyone around them like expert chess masters for maximum suffering, when really it's usually just because they're damaged, frightened people lashing out and grasping on instinctively, who aren't capable of recognizing the harm they're doing. Like the emotional equivalent of a drowning person latching on to anyone nearby and not realizing when they shove them down under the water. It's the human desire to be liked and appreciated absent the ability to self-reflect and cope in a healthy, productive manner, and an unwillingness to self-correct when their own lacking behaviors are pointed out to them. Kal wants to be a good person. He wants to do right by his kids and be super-dad and all of that. He really, really wants it, and that makes it easy to excuse him, because his intentions are so good. (Except he's also got a bit of a white savior thing going on, but we're not talking about that right now.)

The fact that being seen as that person (so that he can see himself as that person) matters more to him than actually doing the hard work of correcting his behaviors so he can be that person is where he fails. He wants without putting in any actual, productive effort. If it doesn't make him feel better about himself, it scares him, and he does his best to ignore it away and make everyone validate him so he can pretend he never did anything wrong to start with. This man gaslights like he breathes. He uses dramatic shows to "erase" damage he's done without actually taking into account if the person he's trying to "make amends" to actually feels better after he's done (see: Darman). He can spin the narrative of self-improvement, but he wavers at actually walking it. It's human. It's very, very human. It's part of why a lot of my favorite "what ifs" involve Kal learning how he's fucked up, being forced to confront it, and growing better as a person and forming healthier relationships with his family. At this point I've accepted my mom will never do it, but I like to think Kal would.

But most importantly, that whatever else might have happened in Skirata's life to harm him, whatever his intentions were, that doesn't matter. People aren't allowed to hurt you just because they don't mean to, or because they've been hurt themselves.

TMI OVER

Favorite moment : Okay, so after he shakes hands and leaves Altis's ship and realizes he's still contagious with the vaccine-fever and he just looks at his hand in disgust and then mutters something like, "I should have charged you." I laughed.

I really, really like when Kal actually is the put-out old crook dragged kicking and screaming into something approximating morality by his love for six little boys, and I wish he'd been written that way more often, because he talks about himself that way sometimes but too obviously views himself as more-moral-than-thou at literally all times, not helped by KT warping reality around him to always make sure he's the most right and moral character in the series, and I just feel like it's a series of missed opportunities. The put-out old crook Kal we could have had is an icon.

Idea for a story : Sort of brainstorming this for a little while now, but: Time travel. Falin gets dumped on Ordo shortly after being found by Munin but before Munin manages to erase his name, or Ordo travels back and stumbles across little Falin and promptly kidnaps him because Munin is a Hard No. It'd be about breaking the cycle of abuse, Falin/Kal getting a better start after the hell he had to deal with and deserving much better than fucking Munin, and Ordo/the Nulls having the opportunity to recognize Kal's bad treatment through having to parent Falin/realizing where Kal came from and grappling with their own unwillingness to pass those things on, and coming to terms with why they don't want to pass those things on. For obvious reasons, them coming to terms with their own poor treatment and not really being equipped to deal with Falin's trauma, means there would have to be a broader cast to provide support, possibly even take over as Falin's primary caregiver for awhile (good luck getting past a freaked out and protective Ordo, but I have faith in his clan) but that's more detail than I've got so far. Point is the Nulls (especially Ordo) coming face-to-face with Falin.

I'm actually sort of attached to Laseema in particular recognizing aspects of Falin's treatment under Munin and actually being a good point of connection for him. She understands better than anyone else in that house exactly what sort of thing Falin's gone through, I think. At least the losing everything parts, and being taken, and being expected to perform to a new expectation by these strangers you have no power to combat, not even to keep your own name. Human trafficking victim to human trafficking victim. I have an image of Falin nursing a wild bird back to health, and, being Kal still, wanting to keep it forever even once it's healed, and Laseema walking him out into the yard, and talking to him beyond the range of anyone else's hearing, and eventually convincing him to let it go.

Unpopular opinion : *shrugs* Kal's a polarizing character. I love analyzing him and I'm very critical of him and want him to face some hard consequences, which is going to be very unpopular with 50% of fandom and perfectly fine with the other 50%.

Favorite relationship : Vau. They're both shitty old people and their relationship is hilarious. Literally the only character Kal doesn't have any sort of hold on, and they fight like cats and dogs but with the impression that they'll be shoulder-to-shoulder at the pub later or something. Angry, toxic old couple who fight all the time but will back each other up when it comes to fucking with the HOA inspector.

Favorite headcanon : Okay, I erased the BS I invented on the spot that lived here last time. Honestly, I spend so much time focusing on canon!Kal that I don't really have any headcanons I can point to in a snap. He gets his share of attention already. Unless some of my interpretations of his canon actions dip into headcanon territory, this is all I've got.

#republic commando #kal skirata critical #etain tur mukan #corr #kal skirata #ask games

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beevean · 3 years

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I haven't played TGAA, but I find the double standard in the way Barok is treated vs the way Miles, Fran and the rest of them are treated kind of strange. Barok is supposedly insufferable, plus he's racist and xenophobic. I ain't excusing that, but that's just how 19th century England was.

Miles and Fran have most likely sent innocent people to jail or even landed them the death penalty, simply because they cared more about securing a guilty verdict than actual justice. Godot is a literal murderer, and I've heard some unpleasant things about Simon and Nahyuta as well.

Yet, all (or most of) these characters are redeemed. Barok's biggest crime is...upholding the views of everyone else at the time. And that somehow makes him irredeemable, despite him actually warming up to Ryonosuke later. I'm not saying everyone should like Barok, but if Barok is irredeemable, so is every other prosecutor in AA.

This has been pretty much my point ever since they announced GAA's localization.

Barok is obnoxious, that is undeniable. Nipponese this, Eastern island that, his mocking of Ryuu easily crosses a line that leaves the player uncomfortable, as it should, because if his xenophobia doesn't bother you it says more about you than about the game.

But. Being obnoxious is all he does.

He does not present forged evidence, or use loopholes in court, or coach witnesses, like Edgeworth and Franziska used to do.

He's never ever physically violent against the defense, unlike Franziska, Godot, Simon or Nahyuta - he breaks his own glasses and bottles when frustrated, but he never harms anyone. (it says something that the entire series so far had only three prosecutors who are decent human beings)

His objective as a prosecutor is simply to find the truth. While he pushes very hard to prove the guilt of the defendant, it's clear that it's because he genuinely believes in his case - once Ryuu manages to convince him his theory makes sense, Barok drops most of his hostility and helps him. Unlike Edgeworth pre-heel face turn and Franziska, he couldn't care less about his own record, which means that he never deliberately gambled with the lives of potentially innocent people for his own ego. He is biased towards Ryuu, not only because he's Japanese but also because Barok admits to personally taking his cases even if they're banal, but he's not completely driven by a petty grudge like Godot - like I said, he'll help Ryuu win if he does a good enough job in his book, no matter his personal feelings towards his learned Japanese friend.

Both he and Edgeworth post-heel face turn share the same goal of finding the truth. However, Edgeworth has hurt at least one person in his quest, infamously Adrian Andrews when he threatened to reveal her mental illness in court and even said "if you kill yourself, that is no concern of mine". Compare this with Barok, who has shown himself capable of kindness as soon as his second appearance, when he (spoilers for Case 4 of GAA) subtly implied he would allow Roly Beate to keep his job despite tampering with the crime scene, because he could empathize with the poor man wanting to spend one day with his wife.

He's genuinely competent in his job, relying simply on cold hard logic to dismantle the defense's arguments as a good prosecutor should - to be honest, it may be the different writers, but Klavier, Simon and Nahyuta never struck me as being especially good at their job, with Klavier having to deal with a rather incompetent Apollo in AJ and Simon and Nayhuta happily abusing the old "attacking the defense" and "asking evidence for every word you say" tricks. (to be fair Simon gets to demonstrate his interesting manipulative skills in one case... Turnabout Storyteller, when he's Athena's ally. Also, I can't remember anything particularly horrible he does beyond being an ass like usual, in fact he may be the best prosecutor of the second trilogy)

Speaking of Nahyuta, the reasons I can't stand him while I love Barok are that Nahyuta is nothing but repetitive, unwitty, painfully realistic obnoxiousness propped up by a shallow twist revealed at the tail-end of the game; he has no real character development, because "sowwy guys i was good all along" is not development; he prosecutes simply to win even if it means insisting that a young girl committed murder in spite of the defense's reasonable arguments; there is no in-game justification for shit like him tormenting Athena in Japanifornia, or even him being an asshole in Japanifornia at all; and there's no weight in the realization that he let hundreds of innocent people being sentenced to death while he stood aside to protect his sister (like, that has got to mess you up a bit right? Can you show me that, game?). Barok not only has a much more fleshed out, drawn out backstory that explains most of his behavior (although I have my reservations at tying his racism to One Trauma); not only he slowly (... very slowly) warms up to Ryuu; not only he has humanizing traits like feeling horrible about being branded the Reaper of the Old Bailey, like it would happen to anyone being rumored to be a death bringer; but he is, most important of all, an overdramatic bitch and the contrast between his intimidating demeanor and the shit he pulls behind the bench is infinitely more hilarious than being told for the umpteenth time that you're a putrid lawyer who's going to hell. It doesn't sound like much, but a good AA game masters the art of "love to hate".

You know how Klavier is a base-breaking prosecutor because some consider him too nice? Barok is what happens when you take Klavier's honest, well-meaning demeanor and give him enough presence to be hated and loved at the same time. I completely understand if people find him too annoying (he's testing my own patience lmao), but I still think he is one of the best prosecutors in the series, both as a job and as the role of the rival.

#ace attorney #barok van zieks #anti nahyuta sahdmadhi #not tagging everyone else lol #this blog has ufficially become the barok defense club

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betawooper · 3 years

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rating every demon fight in kny bc i can

non-biased, completely objective rating (more or less) of every significant demon fight in kny based on a number of factors, including:

cleverness of fighting tactics

placement in the story’s timeline

integration of character backstories

cohesive themes between characters

etc

by non-biased and objective i mean i’m not skewing the rating if a death felt fair or whatever

everything past where the anime ended will be under a read more so anime onlys who havent watched mugen train, youre safe lol

oh and i reread the manga like 20+ times (reread the latter arcs at least 40 times, haha hyperfixations am i right?) so be rest assured im not pulling these ratings out of my ass

also ill randomly be bolding certain phrases just to improve readability

anyways let’s gooooo

VS NEZUKO

[Image Description: Manga panel of Kamado Tanjirou and Nezuko. Tanjirou is fending her off by putting the axe handle in her mouth, keeping her from eating him. End Image Description.]

10/10

i like how realistic it is, because yeah tanjirou would react the way to he did with zero fighting skills against a demon

very clear why tanjirou is fighting nezuko and shows a bit of worldbuilding on how normal people react to their family becoming demons

always nice to see worldbuilding

giyuu is the perfect example of a seasoned demon slayer who’s good at his job, and he juxtaposes tanjirou very well in that aspect

my only complaint is not directly in this fight itself but how nezuko is handled throughout the story as a whole

like bro, it is literally never explained why nezuko is different from demons

could have been easily explained if maybe her family’s ghosts like slapped her hand every time she wanted to eat a person but nope

she’s just built different lol

so yeah youll see future ratings get points docked off bc nezuko unlocks some secret power with no prior explanation other than she angy >:3

VS TEMPLE DEMON

[Image Description: Manga panel of a demon. The demon has a sharp-nailed hand over his neck and there are four text bubbles around him saying “But a wound like this... will heal in no time! See? The bleeding already stopped!” End Image Description.]

10/10

may be more forgettable compared to like rui but still good

tanjirou did exceptionally well in this fight and his ability to think on his feet is once again beautifully illustrated here (trapping this dude’s head against the tree trunk with the axe)

very clever

again, establishes more demon worldbuilding regarding regeneration and still being able to move without their head

and the demons burning in the sunlight thing since nezuko wasn’t able to show that

the ending where tanjirou hesitates to kill the demon also serves to show his sympathetic nature towards demons that will last throughout the entirety of the first 60-ish chapters

we’ll talk about what the hell happens to tanjirou after that

or not, it could honestly be its own post

VS HAND DEMON

[Image Description: Manga panel of a many-handed demon. He has six hands around him, three of them covering his mouth while he chuckles, two of them grabbing his cheeks, and one holding on to the top of his head. There are two text bubbles saying “That’s how many of Urokodaki’s students I have eaten! I’ve decided to kill all of his students!” End Image Description.]

10/10

ooooh probably the first big fight against a demon in the series

oh yeah not doing the two random demons tanjirou one shot in a single blow bc eh

anyways hand demon’s pretty goddamn scary, considering the fact that this is the 5th demon or whatever tanjirou has had to face so far

very nice way to show us how much tanjirou’s innate intuition and all his other random abilities (sense of smell, hard forehead) can come together and help him decapitate this guy

i liked the mini history with urokodaki this dude had and why he had beef with our favorite mentor figure, it establishes that urokodaki was in fact a super good demon slayer and its cool to see that actually shown

i also liked that small moment of compassion tanjirou gave this demon, staying consistent with tanjirou’s established kindness

the demon’s sad tale with killing his own brother very much humanizes him when all the reader has seen up to this point is that this guy is a monster who eats people

sets up the theme of demons just being humans but being victims of circumstance that unfortunately doesn’t hold up as well in arcs past mugen train

VS SWAMP DEMON

[Image Description: Manga panel of Kamado Tanjirou fighting off three horned demons as they appear from below. There is a spiky text bubble saying “Three of them!!!” End Image Description.]

10/10

not my most favorite fight but it still portrays everything alright and im not allowed to let my personal opinions mess with the rating so

i like how tanjirou mentioned the fact that he trained in conditions similar to the bog and explains how he pulled off the whirlpool form

using past experiences to aid him in the present, nice nice

tanjirou and nezuko dont quite work together very well but its yknow the first mission so ill chalk it up to simple inexperience

also the way the muzan curse thingie was hinted at here? fantastic way of showing that little bit of demon worldbuilding

...

oh god, it mentions nezuko being stronger than normal demons

ok its not a problem here per say since i can still suspend my disbelief, but later on it just becomes a glaring problem that gets worse over time

VS SUSAMARU AND YAHABA

[Image Description: Manga panels of Susamaru and Yahaba. The first one is a joyful Susamaru about to throw a temari ball. There is floating text saying “Is she one of Kibutsuji’s minions?!” The second image is an annoyed Yahaba, holding one of his eye-hands to cover himself. There are two text bubbles around him saying “My kimono got all dusty. Tch!” End Image Description.]

9/10

why dont these bitches have a good looking panel together dammit

anyways amazing entrance, the way yahaba used his hand eyes to track down tanjirou is really neat

the synergy yahaba and susamaru have is incredible, its awesome dude, they work extremely well together and it shows

tanjirou actually mixing his water breathing forms together is a god tier move and i absolutely love how he can show off his ability to think on his feet once again

establishing how yushiro’s bda works early on is really well done

establishing tamayo as a fugitive this early on is also super well done

not to get into spoiler territory but both these things pay off

how tamayo ended up defeating susamaru is literally awesome in so many ways

shows off both how smart she is by exploiting the muzan curse

and speaking of the muzan curse, we actually get to see what happens to demons who even say his name, back when it was hinted with the swamp demon

tamayo is amazing dude, and we get some real evidence of the horrible suffering demons go through if they even accidentally attempt to betray muzan :D

...

now heres what keeps this fight from being perfect

nezuko somehow grew stronger against susamaru’s temari

with no explanation

which could have been easily explained if tamayo was like “oh yeah the drug also boosts a demon’s strength temporarily”

but nope

god, i just dont like how gotouge handles nezuko’s power boosts throughout the series bc like i said before

no explanation is given anywhere

this is a huge issue, this isnt a pokemon game, you cant just kill demons and get exp at the end of every battle, level up, get some sweet stat bonuses and move on

(actually if gotouge established that this is how nezuko grew in power, than all my complaints about this would be gone, im not even joking)

anyways i get that nezuko is supposed to be “special” but thats too vague of a descriptor

how the hell is she special? ya gotta be more specific and stick with that explanation or that suspension of disbelief is going to disappear

VS TONGUE DEMON

[Image Description: Manga panel of a four-eyed demon with horns and a long tongue. He is crawling in an awkward position, one foot in front of his tilted head. There are two text bubbles around him saying “Heh, heh! I’ll slurpy slurp your brains out through you ear!” End Image Description.]

10/10

not much to say, showcases zenitsu’s true abilities really well

nicely done

VS HORNED DEMON

[Image Description: Manga panel of a big, single-horned demon. There are three text bubbles saying “You dodged! You’re awfully lively for a human! It’ll be a treat to carve away your flesh!” End Image Description.]

10/10

would have ignored this fight if not for the fact we havent seen inosuke fight before

it definitely shows how very fast-paced and wild inosuke is

no complaints here lol

VS KYOGAI

[Image Description: Manga panel of Kyogai, a demon with tsuzumi drums attached to his shoulders. There are four text bubbles around him saying “Why?! Why does everyone keep sneaking through my house? It’s so aggravating. It’s my prey! It’s my prey! Found in my territory!” End Image Description.]

10/10

establishes marechi blood pretty early on, once again expanding the worldbuilding of kny which is always cool

interesting terrain where it’s always shifting, tanjirou once again proves his ability to adapt really quickly by altering one of his forms to work with the turning room

(man, i wish the form mixing/form modification thing carried on throughout the rest of the story, but it really didnt which is just a shame)

the injuries tanjirou had prior to this mission actually affecting him was a nice touch

oh yeah, kyogai gives us more worldbuilding (which is always nice) regarding the 12 kizuki, and the aspect of him being cast out due to being weak shows a lot about muzan’s indifference towards his own demons if they arent strong

his backstory being a failed writer once again humanizes kyogai as a former human being and not just a monster

tanjirou shows his sympathy and compassion again by not stepping on his written work and complimenting his bda

well, tbh tanjirou’s actions kinda came out of nowhere but its a very minor thing and not enough to dock a point off, like it didnt affect the outcome of the fight that much if at all

(so if you see future battles where points are docked off for things not logically making sense, its bc whatever nonsensical concepts were integrated into the fight actually turned the tide of the battle and thats a big no-no)

very good fight and if you remember how kinda bad tanjirou was at accurately slicing the swamp demon, you can see that he’s already improved leaps and bounds

im so proud of him

VS MOTHER SPIDER DEMON

[Image Description: Manga panel of Kamado Tanjirou and the Mother Spider Demon. There is a light shining down from the top right on to the demon as Tanjirou slices her head off, rain following in his wake. There is floating text saying “Water Breathing: Fifth Form - Blessed Rain After the Drought!” around them. End Image Description.]

10/10

i mean does anyone disagree?

all the demon slayers getting their necks snapped by her threads was pretty horrific, probably more horrifying than anything else we have seen in the entire series if im gonna be honest

the death scene is probably the most beautiful one in the series

it reveals a water breathing form that we havent seen before thats the 5th form

as far as i know, no other breathing style has this merciful sword stroke so it shows a lot about the original water breather and what they might have been like

but enough about them, really the focus is on tanjirou bc this is like the best example by far of how kind and sympathetic he is to demons

dunno what else to say, its perfect

VS SON SPIDER DEMON

[Image Description: Manga panel of Agatsuma Zenitsu performing Thunder Breathing 1st Form: Sixfold on a spider-like demon. Zenitsu is crashing through the roof of a shed, and a zig-zag path is left behind. There are sound effects all over the panel, saying “Bam!” in large font. End Image Description.]

10/10

chose a picture without a huge spider on it bc i would like to not scare myself half to death

anyways extremely amazing fight, showcases zenitsu’s immense talent and skill, adapting the 1st form of thunder breathing to be a more versatile move

theres a moment where his backstory with kuwajima and kaigaku were revealed and his hidden insecurities are out in the open which is super nice and further develops a character weve only considered as comedic relief until now

the anime made the backstory scenes and the killing scene so much cooler

while there is no thematic connection between zenitsu and the demon, it really isnt necessary to keep this fight interesting

anyways another pretty much perfect fight

VS FATHER SPIDER DEMON

[Image Description: Manga panel of Kamado Tanjirou and Inosuke slashing at the Father Spider Demon. The demon has blocked Tanjirou’s sword with his arm, and Inosuke is slamming both his blades down on the demon’s other hand. End Image Description.]

10/10

again, not my most favorite fight but it does everything right

i do have to say it was excellent how gotouge hyped up the father spider demon to be the big bad, only just so the plot twist later takes the readers by surprise

nicely done

VS DAUGHTER SPIDER DEMON

[Image Description: Manga panel of Kochou Shinobu and the Daughter Spider Demon. Shinobu’s back is seen and her haori looks like a butterfly’s wings keeping her afloat as she holds her stinger blade out to the side. The demon looks surprised as blood gushes from her side, arm, shoulder, chest, neck, and forehead. There is floating text on the panel, saying “Insect Breathing - Butterfly Dance - Caprice!” End Image Description.]

10/10

first time weve seen shinobu and her fighting style

what i love most about this is how much it shows her true character, appearing as a carefree and naive individual so she seems underwhelming

then bam, reveals exactly how dangerous and uncaring she is of demons, listing out the specific ways she would torture the daughter spider demon in grotesque detail

her using poison to take demons by surprise is also super clever and brings back the worldbuilding established way earlier about wisteria being poisonous to demons

amazing integration of that concept

anyways this fight really encapsulates who shinobu is as a character and thats why it gets a perfect score

VS RUI

[Image Description: Manga panel of Rui holding his hand out directly towards the viewer. There are two text bubbles around him, saying “Give me your sister. If you hand her over quietly, I’ll spare your life.” End Image Description.]

8/10

not only is it a super scary fight but there is a deeper conflict between rui and tanjirou, what it means to be family

they are opposites in the sense that while tanjirou believes love is what makes a family, rui’s subconscious desperation for an unbreakable bond drives him to use fear to keep his “family” together

excellent juxtaposition of their values, and this is only further emphasized when rui expresses out loud what he was going to do to nezuko

i also like the symbolism regarding rui’s bda, how he uses threads or the “familial” bonds to cut up his fake family with it if they act out of turn or annoy him

super neat detail

alright what i dont like about this fight is nezuko (again)

mostly her unlocking her bda to turn the tide of the battle bc her mom was like “yo, wake up, your brother is going to be killed”

feels... forced ig

her bda in general is confusing and not consistent

man, i wish i could make a stronger argument for this but i do believe the problem stems from the fact that we dont ever know what nezuko is thinking, and what she thinks of tanjirou specifically

if she even cares for him as a sibling or if shes only going along with what her family is saying to her, things like that which would have been fixed if gotouge actually gave her thoughts some screen time

so the action feels pretty shallow

im also conflicted over tanjirou somehow remembering how dance of the fire god works

on one hand, hes using past information and applying it in the current setting so he doesnt die, which is understandable

but on the other hand, this was a teeny bit random?

i think what could have fixed this is if there was a scene in the beginning of the series where tanjirou was performing it himself, like practicing before he actually had to do it for new years

so that when the rui fight rolls around, it would have felt less like throwing dry spaghetti at a wall

but yeah

overall super good fight, giyuu ending up having to kill rui instead of tanjirou was super good in that tanjirou didnt become a pillar this early in the series and to show how strong giyuu is

there are some odd bits regarding the ultimate “beheading” of rui using nezuko and tanjirous supposed bonds but it doesnt kill the fight entirely so it deserves its pretty high score

***under read more is manga-only fights so beware***

VS ENMU

[Image Description: Manga panel of Enmu holding his hand out directly at the viewer, with a mouth on the back of it. There is floating text to the top right of Enmu that says “Whispers of Forced Unconscious Hypnosis!” End Image Description.]

9/10

id say this fight is definitely overshadowed by the dream stuff prior to this but its pretty good in its own right

enmu fusing with the train was kinda confusing, like when was it established that demons could fuse with objects?

this worldbuilding element doesnt even appear again so yeah thats why it loses a point

how the kmbk gang end up defeating enmu is pretty sweet though, tanjirou using dance of the fire god to sever the neck bone was really nice and shows that him using the breathing style in the rui fight wasnt a one time thing

while kyojuro’s role was smaller in this part, the next part makes up for it so i cant complain

anyways ye, almost perfect score but its pretty good

VS AKAZA (MUGEN TRAIN)

[Image Description: Manga panel of Akaza holding his hand out to the viewer’s left. There is a text bubble saying “Why don’t you become a demon?” End Image Description.]

10/10

this encounter is literally amazing okay?

after the crew kills the big bad, it seems like everything is fine

but plot twist, upper moon 3 appears out of nowhere

this is the first time the reader has seen an upper moon, let alone the 3rd/4th strongest demon in existence and the way gotouge handled this twist is fucking amazing

kyojuro’s death scene really shows just how human even the strongest pillars are against demons with incredible power

its just

amazing

VS OBI DEMON

[Image Description: Manga panels of the obi-like demon. The first image shows the obi hung in the air and strung over each other like decorations, with women-shaped patterns in its folds. The second image is Hashibira Inosuke fighting the Obi demon which now has lips and eyes. There is floating text in that panel saying “Breath of the Beast: Sixth Fang - Jagged Gnaw!!” End Image Description.]

10/10

on to red light district

this fight is admittedly super forgettable and not very interesting at least compared to the main fight with daki and gyutaro

but it wraps up the sub plot of the women and uzui’s wives going missing so it gets a perfect score for not messing that up

oh and it establishes the stretchy neck thing daki has going on which is very good

VS DAKI AND GYUTARO

[Image Description: Manga panel of Daki and Gyutaro. Daki is sitting on Gyutaro’s shoulders. There is a text bubble on the top right that says “The two of us are one, after all.” as well as floating text that reads “The power of the irregular siblings...!? Next issue lead color and the fight reaches its climax!!” End Image Description.]

8/10

love how this battle challenges tanjirou’s sympathy and kindness towards demons, just simply bc daki and gyutaro are horrible people

(too bad nothing came of this, which ill explain in the hantengu portion)

daki and gyutaro are very good villains and kept this fight super interesting from start to finish

uzui acting as a foil to gyutaro is nicely integrated and properly shown with how jealous gyutaro gets over seeing uzui’s perfect form and stature

tanjirou not only mixes forms but mixes breathing styles as well, which is so fucking awesome

(too bad it was only used like once throughout the entire series, its quite unfortunate)

the super high tension right after inosuke gets stabbed and tanjirou wakes up was expertly portrayed and handled, it felt like the kmbk gang and uzui were actually going to lose

super awesome

the tanjirou and gyutaro parallels are expertly portrayed, with how gyutaro taunts tanjirou over failing to protect his little sister, and the more visual thing where tanjirou imagined his own neck underneath his blade, that was super duper nice

the ending is extremely tense and emotionally gripping, gotouge did a really good job with that artistically too

the demon mark acquisition scene was surprisingly not frustrating, considering that it wasnt really explained prior to the battle

i do think it has to do with how it was explained later just exactly how they worked so its not just some random thing gotouge pulled out of their ass

so pretty good

what i dont like is nezuko and her full power demon form

first of all where the fuck did that come from? she just got angry and suddenly shes as powerful as an upper moon

how?

that doesnt make sense???

her extremely quick regeneration makes no sense

her ability to manipulate her blood’s properties makes no sense

and it doesnt even appear again so what was the point of that existing

none of this is even explained later which annoys me

that one part where tanjirou sings a lullaby to her to calm her down was alright ig but nezuko in this fight makes me extremely irritated and frustrated

just ugh

VS HANTENGU

[Image Description: Manga panel of Hantengu opening a shoji door. He is crawling inside, his hand in a gnarled, unnatural position. There is a text bubble saying “Eeeeeeek.” End Image Description.]

1/10

swordsmith village

this fight can go fuck itself /j

no but seriously it has so many problems that it would be shorter to name its redeeming qualities (which ill do later)

first off, the nezuko full power form thing again

i hate it so much with a passion

again, where did her ability to regenerate instantly even come from???? this is never explained, ever

and why did she cut herself on tanjirou’s sword anyway

did she somehow know that it was going to turn red if she burned it?

gotouge what the fuck, there is literally no reason why nezuko would do that and we cant even read her mind to see her thought process

gotouge hates nezuko, i swear

remember when i said uzui is meant to be a foil to gyutaro in the rld fight? its pretty obvious that those two are opposites, it was nicely done

... what the hell does mitsuri’s insecurities about strength have to do with whatever the fuck hantengu has going on (which is basically nothing)?

so no meaningful connection between mitsuri and hantengu

theres no meaningful connection between tanjirou and hantengu other than tanjirou getting pissed off for like the second time

also tanjirou’s thing with being kind and sympathetic to demons was entirely dropped at this point

but instead of it leading up to a corruption arc of some sorts, it just doesnt

like honestly if something actually came of that anger he exhibited in this arc and from red light district from this point forward story-wise, i would have counted this as an amazing writing decision

but it literally doesnt so who cares

(god, i really start to hate what happened to his character after this )

and genya’s revealed motivation also doesnt fit at all with hantengu’s thing, he’s not a foil, not a parallel, nothing, there is nothing

tanjirou being the catharsis for development for mitsuri and muichirou, who he has only talked to like twice

theres definitely a better way to handle those two’s developments without his help

like gotouge, you have a big cast of characters, use them lol

i want to kick hantengu in the face for being boring as fuck (at least his clones have cool looking weapons)

doesnt even have a proper backstory, just a single spread of him being blamed for shit as a human

like... thats it? this is upper moon 4 what the hell

theres no clever form mixing here at all (regarding tanjirou) which probably would have helped with foreshadowing the 13th form for dance of the fire god/sun breathing better

also gotouge established that as tanjirou’s thing and now he doesnt do that stuff anymore which sucks

oh hey remember when tanjirou actually learned how to do zenitsu’s speed boost thing?

if you didnt, i dont blame you bc it literally doesnt appear again, ever

you could argue that he adapted it into his “waltz flash” technique or whatever the fuck that is but the way it was integrated into this fight was like throwing dry spaghetti at a wall

which is just a shame bc its meant to be representative of how tanjirou and zenitsu are good pals but the way it was utilized is forgettable as hell

i absolutely loathe the crimson blade concept as a whole and im mentioning this now bc its going to come into play why future instances where this goddamn thing comes up again causes points to be lost

its inconsistent as fuck ill tell you that

at least some yoriichi stuff appeared here and not shoved into the final battle with everything else

so the yoriichi stuff later didnt come out of absolute nowhere

genya and mitsuri’s unique fighting styles expand the kny worldbuilding just a little more which is always nice

tanjirou got a cool sword out of this which would have been cooler if him and yoriichi had a deeper connection that was actually explored

but we didnt get shit so whatever

other people getting demon marks being revealed here is also okay so that again, the final battle isnt filled with absolutely everyone getting their marks at once

demon marks have their own slew of problems but its not as bad as the fucking crimson sword shit

god i hate the crimson sword shit

...

dude this section needs a tldr, even i cant sit and read through my shit

TL;DR - this fight sucks and crimson swords are bullshit (more on this later)

VS GYOKKO

[Image Description: Manga panel of Tokitou Muichirou and Gyokko. Muichirou is looking to the left while Gyokko is looking to the right, both with their backs to each other. There are mist clouds billowing in the foreground and background, as well as a slash mark going across Gyokko’s neck. End Image Description.]

7/10

this fight suffers from the same lack of cohesive themes through characters like the hantengu battle bc the antagonist is given nothing

but its better

we havent actually seen mui fight before so theres no consistencies that the reader has to keep track of for now

and there arent like 10 characters in the fight so this fight gets a lot of points just for being a lot more coherent

i do like that this fight shows just how good mui is that he can defeat an upper moon by himself

mui’s backstory is neat

gyokko’s bda is very interesting too

... thats pretty much it lol

ye, anyways not the best fight but not the worst fight either

VS KAIGAKU

[Image Description: Manga panel of Kaigaku holding the hilt of his blade with one hand. There is two text bubbles around him, saying “...As usual, you’re still shabby. It’s been a while, Zenitsu.” End Image Description.]

9/10

alright on to final battle arc

theres some good fights and then some really sucky ones, but this one was pretty incredible and very emotionally charged

theres a clear reason why zenitsu and kaigaku are battling each other (kai betrayed the corps and inadvertantly caused the only parental figure in zenitsu’s life to die, and zenitsu is rightfully pissed off about that)

the visual yin-yang symbolism is awesome too

zenitsu winning due to using the 7th form he created himself (which i have reason to believe was inspired by tanjirou) was the perfect ending to the fight, really couldnt ask for anything better and is a perfect example of how much of an effect tanjirou has had on zenitsu

the 7th form is what tanjirou’s waltz flash should have been lol

what keeps this fight from being absolutely perfect is lack of development prior to this conflict

(since the final battle arc is basically a culmination of all the hinted developments through the series, im going to actually factor in how much and how well these conflicts were foreshadowed)

anyways if we had actually seen zenitsu, kaigaku, and kuwajima actually interacting with each other and showing how they were essentially a family (not just through flashbacks), it would have made zenitsu placing the responsibility of killing kai onto himself a lot more tragic

but like, apart from brief flashbacks where zenitsu actually met kaigaku off screen and that one thing all the way back in natagumo where both kuwajima and kai were introduced, thats pretty much it in terms of thunder family development

so yeah its underdeveloped for sure

also one random thought, i personally think zenitsu should have gotten his demon mark in this fight, it would have been cool to see

VS AKAZA (INFINITY FORTRESS)

[Image Description: Manga panel of Akaza’s face. There are two text bubbles around him, saying “Okay, let’s get started. It’s time for the feast.” There is also floating text saying “The inspection of the strong has begun...” as well as a simple box on the lower left, denoting its the end of chapter 147. End Image Description.]

6/10

oh god please dont hate me for this

ill list the good things first how about that

this conflict was foreshadowed perfectly in mugen train, you bet the readers were expecting a tanjirou vs akaza battle after the death of kyojuro and gotouge delivered

akaza’s power is shown extremely well with how many close calls tanjirou and giyuu had while fighting him

akaza eventually giving up on his own volition was really nice and fit into the context of the battle very very well, like sure tanjirou and giyuu wouldnt understand why he gave up but us readers do know

akaza is a really good character and a good villain

now notice how im only mentioning akaza and not giyuu or tanjirou in the good aspects

bc those two are eh

no form mixing at all from either tanjirou and giyuu

i know i said form mixing was kind of tanjirou’s thing but you’d think giyuu would have gotten more creative with his moves once akaza said that he was getting predictable

(well he said he “ran out of water breathing forms” but same thing)

so its kinda bland lol

speaking of giyuu, his whole thing with his insecurities of being weak wasnt handled well (it was sort of immediately brushed off in pillar training, and its unclear what part of his character arc he was in)

like sure him announcing that he’s going to protect tanjirou is cool but it feels like he was haphazardly dropped into the tanjirou and akaza conflict

isnt he supposed to be both their foils? that wasnt really explored that well in this fight and theres no deep meaning behind him even being here just analyzing what he did in it

he could have been handled better or even given more focus is what im saying

the anatta state came out of nowhere, im sorry okay? just bc inosuke like barely hinted at not being able to sense grandma hisa bc she had no fighting spirit and tanjurou magically taught his son how to achieve this state doesnt mean it was properly integrated into the fight

if the anatta state was actually explored prior to this battle, i would have given it a pass but it just feels like a cheap and poorly developed trick to get around akaza’s technique development (which is overpowered as fuck might i add)

gotouge should have just given akaza a plausible weakness to his technique development instead, especially since they dont use or even mention the anatta state after this

the transparent world shit makes no sense but ill elaborate on that in the koku battle analysis

oh and this thing doesnt affect the score but why wasnt there a “yoriichi visage overlapping” moment when tanjirou was fighting akaza? hes an upper moon, he should have gotten those visions but he didnt

for some reason

anyways this battle was alright and has good set up but the middle and end parts didnt hold up as well bc random concepts were thrown at us without prior explanation or development

VS DOUMA

[Image Description: Manga panel of Douma licking Shinobu’s butterfly pin. There are two text bubbles around him saying “Anyway, tonight is a good night. Such fine feasts keep showing up one after another.” End Image Description.]

9/10

damn, such an amazing fight

the build up to this was properly foreshadowed

shinobu finally showing her true anger after hiding it for so long is amazing

douma is a super interesting character and fantastic villain

shinobu showing off her true power and determination against douma was sooooo nice

shinobu’s poisonous body plan is so clever and so interesting

if i was to rate the shinobu part of the fight alone, it would have gotten a 10/10 no question

the reason why its knocked down a point is because of the kanao and inosuke part

dont get me wrong, the way kanao is able to hold her own against douma by herself is pretty cool, how shes meant to parallel douma with their similar struggles surrounding human emotions and demonstrate how she has grown as a person, how she regains the ability to cry

that shit is cool, inosuke also getting in touch with his emotions after learning what happened to his mom was super neat as well

however

bc this battle takes place in the final arc with everything else, there wasnt proper build up regarding many things, the kotoha reveal especially

so inosuke feels kinda forced into the kanao shinobu and douma conflict, similar to how giyuu felt forced into the tanjirou and akaza conflict

its quite unfortunate bc if the kotoha stuff was actually explored prior to the confrontation, this “forced” feeling would have disappeared

i know some people have suggested that the douma fight should have just been its own arc, and i very much agree, it would have certainly helped fix this problem regarding inosuke and kotoha

last random thought, i wish shinobu, kanao, and inosuke got their demon marks

VS KOKUSHIBOU

[Image Description: Manga panel of Kokushibou looking directly at the viewer, holding the hilt of his blade as if he’s going to pull it out. There are text boxes around him saying “This... is Upper Moon One... He’s so different compared to the other Upper Moons. He looks so dignified and majestic.” The text boxes are narrated by Tokitou Muichirou. End Image Description.]

5/10

this fight is... mediocre

at least theres a more tangible connection between muichirou and kokushibou

even though that was handled kinda poorly

tbh there really was no point to revealing that mui is koku’s descendant like at all, it just had no significant bearing to the plot of the fight

sanemi’s backstory being here is... okay ig?

idk the whole shinazugawa conflict has fundamental problems that i just cant think of any other place to put it without changing the entirety of canon

the marechi blood concept coming back was nice though

genya is there

him getting his bda was cool and helped turn the tide of the battle in a satisfying way (before kicking the bucket but thats not the focus here)

gyomei is a hollow husk of a character who barely got anything at all

but his fighting style is extremely cool and conveys his immense power very well

oh and him and sanemi are amazing at working together, like better than giyuu and tanjirou, and better than kanao and inosuke

theyre that good yet pretty much nobody acknowledges it which is sad

koku himself is pretty interesting and pretty tragic, very nice villain

but everyone together?

gonna be honest but this is such a random collection of characters, there was basically no foreshadowing that these four were going to go up again kokushibou, they are not that connected very well

i know there was this one post that focused on the theme of family that was common in all 5 characters in the fight but its just not enough

it would have been more cohesive if gotouge emphasized gyomei, mui, sanemi, and genya being like different aspects of yoriichi coming together to kill kokushibou hundreds of years after yoriichi failed to kill him

lmao its not like the 4 of them defeated koku with the power of family or friendship, they just smacked him over and over with a flail, shot him with magical bullets, and stabbed a crimson sword into his abdomen

wouldnt have been too hard to switch over to koku’s pov and go “damn these bitches are like my stupid brother”

...

speaking of crimson swords

i fucking hate the crimson sword concept oh my god can i complain about it now? im gonna complain about it now

unlike demon marks, the crimson blades werent even given any proper conditions, you just hold the stupid thing hard enough and it somehow imbues it with magical properties with no logic behind those properties

what part of crimson swords completely destroys a demon’s body in an instant? even muzan didnt go through that process when he was almost killed by yoriichi so where in the goddamn fuck did it come from

it could be explained bc the sword was left in the same spot for a long time but this tactic doesnt even appear again in a meaningful way (didnt kill muzan when tanjirou and giyuu held the sword together) so what the fuck was the point of having this even exist

its so underdeveloped and confusing and i hate it

the transparent world stuff is also confusing as shit and its pretty much never explained how they work aside from the vague “close your mind” advice, like why did it exist, it did nothing to help the present day demon slayers

its just so... poorly integrated

yeah anyways this is around the same rating as the akaza fight but a little worse bc there wasnt that strong set up beforehand

VS KOKUSHIBOU (SENGOKU ERA)

[Image Description: Manga panel of a bag getting ripped open, pieces of a wooden flute tumbling out. End Image Description.]

10/10

easily 10/10

this fight shows the tragedy of kokushibou giving in to his envy and hatred, when yoriichi cries over seeing his own family commit terrible attrocities against the people he wanted to protect

and yoriichi dies, now carrying the fact that he couldnt even save his own brother from the influence of muzan on his conscious forever

what a sad ending for yoriichi

and after koku angrily slashes apart yoriichi’s corpse, having him find and keep the flute he gave to him when they were kids to the present day gives him a small shred of humanity in the midst of his monstrous anger

VS NAKIME

[Image Description: Manga panels of Nakime. The first one shows a low quality version of her playing her biwa. The second one is a close up of her eye. There are spiky text bubbles saying “It’s Upper Rank... 4!” End Image Description.]

0/10

no nakime backstory

not even a goddamn fight

forgettable

useless

VS MUZAN

[Image Description: Manga panel of Kibutsuji Muzan in his white-haired, mouth-covered form. There are text bubbles around him saying “Not a single one was of use to me. I will crush the demon hunters tonight. I’ll massacre them all right now.” End Image Description.]

1/10

._.

i have many complaints but ill try my best to not make this another hantengu rant section lol

first off, obanai deserved better

im serious, this poor dude was forgotten until pretty much the end when we finally get a backstory out of him

and then he died

what a waste of a potentially amazing character

mitsuri getting taken out early was ehhh

pretty sure someone else made a post about her supposedly being extremely strong but she was nerfed in this battle which i agree with

literally none of the pillars work together very well, like remember how i praised sanemi and gyomei for being super coordinated? lmao that doesnt exist anymore

you could say this is caused by desperation though and you wouldnt be wrong, its just boring to sit through

that causes issues bc this now basically requires the crimson sword and transparent world concepts to be there to spice things up

but in this fight, they do nothing in the long run (except for tanjirou using the crimson sword at the very very end)

youve already heard me talk about why those two things are super shittily integrated and i cant be bothered repeating myself so moving on

kanao, inosuke, and zenitsu

they... exist? they didnt do much tbh, which i guess is the point but like, now its boring again

nezuko could have been used as a potential way to raise the stakes and make things interesting again (like “ah shit, muzan might actually be unkillable if he gets nezuko but its okay bc shes not here- oh fuck shes here this is not good”)

but nothing came of her running off except confirmation that she became human again so whatever

uzui and shinjuro are useless, why werent they at the fight?

like they could have followed nezuko and contributed to the battle even a little but they just didnt and now theres literally no point to them appearing in this arc at all

wasted potential

tanjirou

i wish him going absolutely apeshit had actual substance behind it, like it being a part of his character arc or something

i remember having this one theory that he had a corruption arc (due to dropping his kindness thing towards demons) and i wanted this to be true so badly

but it doesnt exist

not with how the series ended

god

the only thing that saves this fight from being complete trash is tamayo’s poison thing being amazingly executed

and the part where everyone got blasted away, losing limbs and shit, that made things a little more interesting again

but thats it

VS MUZAN (SENGOKU ERA)

[Image Description: Manga panels of Kibutsuji Muzan, Tamayo, and Tsugikuni Yoriichi. The first one has Muzan and Tamayo, while the second one has Yoriichi pulling out his sword. There are text boxes saying “And the moment I met him, I understood that I was born into this world to defeat this man.” End Image Description.]

9/10

finally something good again

while short, that’s just the nature of all of yoriichi’s battles with demons

anyways pretty nice, theres a clear reason why this battle exists (shows the scenario that made the original breather get super close to defeating muzan in detail)

adding tamayo here was a nice touch

my only complaint is that it seemed extremely coincidental that yoriichi somehow developed a breathing style specifically countering muzan’s multiple organs without even knowing prior that he had all those brains and hearts floating around freely in his body

like thats kind of ridiculous, even for yoriichi whos supposed to be “blessed by the gods”

could just be me though

VS TANJIROU

[Image Description: Manga panels of Kamado Tanjirou in his demon form. The first image has his eyes closed. The second image has his eyes opened and the tumor on his face almost completely faded. There are text boxes around him saying “You will destroy the demon hunters in my stead.” End Image Description.]

1/10

hoo boy

ok first off, demon tanjirou lasted for 2 chapters

thats it

2 chapters

so thats already a problem

i am aware its meant to parallel the beginning of the series but also its ridiculous how completely vague and rushed this entire thing was

nezuko doesnt do shit through not just this battle but this entire arc which i already explained so not gonna go into it further

kanao magically having a demon cure on her made very little sense

the scene where tanjirou leaves muzan in purgatory is pretty but if you look at it in the context of everything else, its ambiguous and confusing

(if someone could explain it and see how it connects to the original theme of “demons just being victims of circumstance,” i would love to hear it)

actually you know what makes me so mad about this “fight” as a whole? there was so much potential to do more with this concept

and im not talking about him escaping and nezuko becoming a demon slayer roleswap au (even though its a pretty cool concept)

him becoming a demon could have been a metaphor for his lost kindness and sympathy towards demons halfway through the series

it could have been a punishment for letting his anger towards muzan cloud his judgement

it could have symbolized literally anything about him losing his humanity as he got stronger

but those three things are just scenarios from my head, they dont exist in this series just based off of what weve seen from these two chapters

its disappointing

the only thing keeping this from getting a 0 is the one part where inosuke couldnt chop off tanjirou’s head bc he cared about him too much

that at least shows inosuke had grown as a character

everything else is just meaningless and convoluted garbage and “convoluted” is not what you should be aiming for if this is supposed to be the ending of your series

IN SUMMARY

early kny is very good, later kny is questionable and the ending is just a mess of wasted potential and disappointment

i get why gotouge had to have the transparent world ability, crimson blade ability, and the demon marks appear before they all appeared on yoriichi but theyre all just so underdeveloped and terribly handled in the battles they are used, it makes me want to kick a wall

like lmao, i could literally think of so many ways they could have been properly integrated, hell, im even writing a whole goddamn rewrite using my ideas for these three things (link to that is in my pinned)

just, god

if you want to debate over these ratings, my ask box is open ig? idk

#kny #kimetsu no yaiba #kny meta #demon slayer #my writing #long post

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hello-im-not-a-possum · 3 years

Text

17. Glass

At first, Susie assumes Norman is just some weird creep. At first, Norman assumes Susie isn’t anything as special as the others hype her up to be. But when he finds out that her discolored eye isn’t just some sort of medical condition of hers, and as the two talk, they realize that they have a little bit more in common than they thought they did. (Set during Susie’s first few days on the job.)

Susie was both excited to the point where she felt like she was walking on air and nervous to the point of nausea.

It was her first week in the big apple, and she already landed a job interview at the promising, brand new animation studio simply titled ‘Joey Drew Studios’. It helped that she had a very impressive vocal range, a lot of pep, and eagerness to work with new people.

And when she presented her resume to the Music director and he in turn offered the role of Alice Angel, she was completely over the moon! While naturally, female characters tended to be underwritten in personality compared to their male counterparts, the personality the Angel did have reminded her so much of herself! She was a friendly gal who loved to sing her heart out and dance, and according to Sammy, would be fleshed out more during the show’s run.

“While they might be reluctant to her at first, she’s really something special, maybe could even be more popular than Bendy someday.”

But as great as the job itself was, the people she worked with were pretty hit and miss, with the acceptation of the music director who was both at the same time.

Luckily, there were more hits than misses, but the misses really... well, missed. Like that projectionist that was often skulking in the shadows and pulling mean pranks on people. Admittedly, she was still upset by their first encounter where he spooked her into dropping hot coffee on her favorite skirt. How on earth could somebody that tall be that quiet?!

But aside from his... odd quirks, the projectionist seemed harmless enough and as long as she did her job and he did his and they didn’t bug each other, then they’d be fine.

-----

Due to Norman’s hobbies, he got good at judging reading people over the years and his new coworkers and bosses were no exceptions. Some were easier to read than others, but he got the gist of most of them down;

Joey? Friendly on the outside, but was hollow on the inside, perhaps soulless even. And not in a way where the man was drained of stuff inside him. He seemed that he was just always like that.

Sammy? Aggressive and weird on the outside, is less aggressive on the inside but only gets weirder the deeper you dig. Norman wasn’t saying that the man was an escaped loony bin patient... but he wouldn’t be surprised if he happened to be one.

Jack? A genuine and friendly fellow, seemed to go with the flow and had a high tolerance and or fascination for crazy. No wonder he seemed to be so close with Sammy.

Susie? A chipper, seemingly headstrong, and naive young woman from the south if he was hearing her accent correctly. She was a sweet singer and good at voices, he’d give her that, but she seemed to be over hyped if anyone was asking him. He wasn’t annoyed by her himself, he was just annoyed with how most of the musicians acted around her, they weren’t inappropriate, but they weren’t hiding their feelings either.

He tried to keep his distance from her most of the time, partly because he sensed he was still mad about the prank going wrong as he didn’t know she was carrying coffee, and partly because he didn’t want to get too close to her only to see the big bad city chew her up and spit her out once it was done fawning over her.

Watching that happen wasn’t as bad as watching what happened to people at his old job, but it would still tug his heartstrings the same way, even if it wasn’t as hard.

-----

It was by chance they met up late at night, Norman was fixing a stubborn projector and Susie was looking for a script that the Janitor accidentally threw out. At first, the former didn’t notice the latter, she came up on his blind spot and he was too busy listening to the projector’s weird sounds to notice the click clack of her high heels.

The machine he was handling was being unreasonable lately, and he was cursing under his breath because of it. He eventually figured out that the machine had a problem with itself AND it’s plug. If he left, he left his booth at risk of catching on fire again, if he didn’t then he’d be leaving the band room at risk of getting caught on fire.

“Too bad I’ve only got the one eye ta keep on yous, I could use another...”

“Oh! I can help with that!”

The man wasn’t sure what he was more caught off guard by: Susie’s presence or the fact that she had just popped her discolored eye right out of her head and set it gingerly on top of the projector. All this time he assumed that it was just infected or something, not made out of glass.

Norman doubled over in hysteric laughter and composed himself a few moments later.

“Well, I do appreciate a good eye for jokes, but I hope you’re bein’ serious about this here projector, I was startin’ ta worry which would catch on fire first...”

Susie gave a thumbs up as she put her eye back into her head. “No problem! I just always wanted to do that joke ever since I got my glass eye, but I don’t mind watching it for a bit for you.”

The projector between them sparked up a bit, making both of them back away.

“...I was starting to worry about that thing myself, actually...”

“Don’t worry your pretty little head no more, now that I know what the problem is, it’s good as done.”

As Norman handled the situation, he returned back to the booth to give her the all clear.

“Situation’s handled, hopefully it won’t make a fuss again for a while.”

“That’s good!” She chipped back, and her eye went to his name tag. “Wait a minute, your last name is ‘Polk’?”

“Yes? At least, last time I checked it, it was...” He looked over her own name tag and something clicked. “...And yours is Campbell?”

“Yes! You were the local undertaker back in Pineville, Louisiana, right?”

“Yeah, but as ya can see I retired from that a while ago.”

“You won’t believe this, but I think I used to live across the street from you!”

“Definitely knew some Campbells in my neighborhood.” He nodded. “All of them were read heads like yourself, so I wouldn’t be surprised. In fact, I think I met your brother a handful of times... ”

“Yep! He told me a lot about you! Who’d think we’d end up meeting up at the studio of all places?”

“Yeah, sure is a small world alright.”

“Well, enjoy your night Norman.”

“You too, see ya tomorrow.”

#Bendy and the Ink Machine #susie campbell #norman polk #mild eye horror #fanfic #ink demonth

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user-2-electric-boogaloo · 4 years

Text

A Comparison of RTD and Steven Moffat: Saving The Day

So for this analysis I’m going to compare when Moffat and RTD save the day well and when they save it poorly. There are a few bits of criteria I need to explain.

First I will only be including main series, no Torchwood, no spin-offs, and no mini episodes.

Second, I have to define what makes a good and a bad ending (my examples will come from episodes written by neither of them):

Bad endings include when the sonic saves the day (see The Power Of Three) (there are exceptions, see below), when a character spouts some useless technobabble that doesn’t make any scientific sense/when it doesn’t make logical sense in general, when the Doctor invents/presents a machine/equipment that miraculously stops the baddy and is never referred to again (see Journey To The Centre Of The TARDIS), and any other ending I deem to be bad (see The Vampires of Venice)

Good endings include when the sonice activates a device that has been well established to save the day, when technobabble is used that actually makes some scientific sense, and just generally when the baddy is destroyed in what I deem to be a creative manner that makes sense with all the things that had been set up in that episode (see The Unquiet Dead).

There will also be cases where there isn’t really a day to be saved, however this happens more often with Moffat.

Let us begin (obviously there will be spoilers but the last episode in the list aired nearly 4 years ago so what you doing with your life).

RTD:

Rose: Bad

What even is anti-plastic?! Like seriously, he’s faced the Autons loads of times and has never thought to use it any other time.

The End Of The World: Bad

The Doctor just goes up to the appearance of the repeated meme (ha meme) and rips its arm off. He then just summons Cassandra back by twisting a knob which apparently everyone can do if “you’re very clever like me”.

Aliens Of London/World War Three: Good

Just nuking them all was a bit dodgy but I’ll give it to him purely because it had been set up earlier in the episode and it is a genuine option that could have been taken.

The Long Game: Good

The heating issue was set up within 2 minutes of the episode starting. It’s always good to see the Doctor using his enemies weakness against them.

Boom Town: Good

Only just. It’s technology that hadn’t been showcased ever before and came out of nowhere, but I’m allowing purely because it was setting up The Parting Of The Ways.

Bad Wolf/The Parting Of The Ways: Good

See above. It was set up the story before so it works.

The Christmas Invasion: Bad

This was so close to being good. If RTD had just let the Sycorax leader be honourable then everything would have been fine. Instead he had to let him be dishonourable and then the Doctor through the Satsuma at a random button that for no apparent reason caused a bit of floor to fall away.

New Earth: Bad

It only makes sense if you think about it for less than 10 seconds as just pouring every cure to every disease ever into a giant tub and then spraying said supercure onto them all, then having them hug each other to pass it on. That is suspending my disbelief just a bit too far.

Tooth And Claw: Good

Everything is set up in the episode so I’ll allow it but I fail to see how Prince Albert had the time to ensure that the diamond was cut perfectly.

Love And Monsters: Bad

It’s Love And Monsters. Need I say more?

Army of Ghosts/Doomsday: Good

It was very clearly set up throughout the episode.

The Runaway Bride: Bad

I don’t like how a few bombs can supposedly drain the entire Thames.

Smith And Jones: Good

All the events were well established

Gridlock: Good

It’s a fairly bland way to save the day, just opening the surface to all the drivers. But how else could he have done it?

Utopia/The Sound Of Drums/Last Of The Time Lords: Bad

As much as I like the idea that he tuned himself into the archangel network, he basically turned into Jesus. It is arguably the least convincing ending in modern Doctor Who history.

Voyage Of The Damned: Bad

Why was he the next highest authority? If he’s the highest authority in the universe why didn’t they default to him in the first place? If not then why not default to Midshipman Frame? And if he’s somehow in between them then why? Also Astrid killed herself for no reason when she easily could have jumped out of the forklift.

Partners In Crime: Good

It works in the context of the episode, but I don’t see why they needed two of the necklace things.

Midnight: Good

It’s human nature, you can’t get more well set up than that.

Turn Left: Good

It works logically

The Stolen Earth/Journey’s End: Bad

Donna just spouts a load of technobabble whilst pressing buttons and then the Daleks are magically incapacitated.

The Next Doctor: Bad

Why do the infostamps sever Hartigan’s connection with the Cyberking? As far as I remember it ain’t explained.

Planet Of The Dead (co-written with noted transphobe Gareth Roberts): Good

A good couple scenes are dedicated on getting the anti-gravs set up.

The Waters Of Mars (co-written with Phil Ford): N/A

The day isn’t really saved cause everyone still dies anyway.

The End Of Time: Good

Using a gun to destroy a machine is much better than using the sonic to destroy it.

Summary for RTD:

Out of 24 stories written by him, I deem 10 to be bad endings with 1 abstaining. That’s 41.7% of his episodes (43.5% if we don’t count any abstaining).

Steven Moffat:

The Empty Child/The Doctor Dances: Good

You’ll see this a lot with Moffat, he knows how to explain things without stupefying levels of technobabble. “Emailing the upgrade” is a perfect example of this.

The Girl In The Fireplace: Good

Some basic logic, the androids want to repair their ship, but they can’t return to it, they no longer have a function so they shut down.

Blink: Good

Always loved this one, getting the angels to look at each other, however they do look at each other sometimes earlier in the episode.

Silence In The Library/Forest Of The Dead: Bad

This is more of a problem with the setup of the episode, I don’t like that he can negotiate with the Vashta Nerada. I’d rather see them comprehensively beaten, but I guess it’s good for the scare factor that they can’t be escaped from.

The Eleventh Hour: Good

He convinced the best scientists all around the world to set every clock to 0 all in less than an hour. In the Doctor’s own words “Who da man!”

The Beast Below: Good

The crying child motif pretty much ended up saving the day (well for the star whale, life went on as normal for pretty much everyone else).

The Time Of Angels/Flesh And Stone: Good

The artificial gravity had briefly been set up earlier so I’ll allow it.

The Pandorica Opens/The Big Bang: Good

Everything had been set up perfectly, the vortex manipulator, the Pandorica’s survival field thingy, the TARDIS exploding at every moment in history.

A Christmas Carol: Good

Literally the entire episode is the Doctor saving the day by convincing Kazran not to be a cock.

The Impossible Astronaut/Day Of The Moon: Good

The silence’s ability to influence people is their whole thing, so using it against them is a good Doctory thing to do.

A Good Man Goes To War: N/A

The day isn’t really saved, Melody is lost, but River shows up at the end so is all fine? I love the episode it’s just the day isn’t really truly saved (yes I know Amy was rescued but she still lost her baby).

Let’s Kill Hitler: N/A

There isn’t really a day to be saved. They all get out alive but no one is really saved other than maybe River but we all knew she was gonna live anyway.

The Wedding Of River Song: Good

Whilst opinion is divided on the episode, the ending still works. the Tesseracta was established in Let’s Kill Hitler, and the “touch River and time will move again” was established well in advance.

The Doctor, The Widow And The Wardrobe: Bad

I don’t like how the lifeboat travels through the time vortex for no reason but to rescue the dad. It don’t make no sense and I don’t think it’s explained

Asylum Of The Daleks: Good

Oswin had access to the Dalek hive mind so of course she should be able to link into the controls and blow everything up.

The Angels Take Manhattan: Good

Paradoxes really do be something powerful, and they even acknowledge how nobody knows if it’d work so I’ll let it slide.

The Snowmen: Bad

Lots of people cry at Christmas, why are the Latimers anything special?

The Bells of Saint John: Good

The whole episode is about hacking so why shouldn’t the Doctor be able to hack the spoonheads

The Name Of The Doctor: Good

It was the story arc for the season pretty much, so of course it was explained well in advance.

The Day Of The Doctor: Good

Both the storing Gallifrey like a painting and the making everyone forget if they’re Human or Zygon works in the context of the episode.

The Time Of The Doctor: Bad

Since when were the Time Lords so easily negotiated with?

Deep Breath: Good

I like the dilemma over whether the half-face man was pushed or jumped.

Into The Dalek: Good

It’s set up well with this new Doctor’s persona of actually not being too nice of a guy (at first).

Listen: N/A

There isn’t a day to be saved. It’s just 45 minutes of the Doctor testing a hypothesis and I low-key love it.

Time Heist (co-written with Steven Thompson): Good

It works logically so I’ll allow it however it isn’t very well set up at all.

The Caretaker (co-written with noted shithead Gareth Roberts): Good

The machine to tell the Blitzer what to do was set up well in advance so I’ll allow it.

Dark Water/Death In Heaven: Good

The fact that Danny still cares even as a cyberman is set up fairly early on after his transformation.

Last Christmas: Good

He does use the sonic to wake up Clara but he convinces the others to wake up through talking so I’ll allow it.

The Magician’s Apprentice/The Witch’s Familiar: Good

It’s set up well with that little scene from actually inside the sewers.

The Girl Who Died (co-written with Jamie Mathieson): Good

IDK why the vikings would randomly keep electric eels but they’re set up well so I’ll ignore it.

The Zygon Inversion (co-written with Peter Harness): N/A

Not including this one as it’s only the second part and I’d argue the ending is most likely Harness’.

Heaven Sent/Hell Bent: N/A

Again there isn’t really a day to be saved, yes Heaven Sent really is amazing but it’s only the first part and, being completely honest, he dies several billion times before finally getting through the wall.

The Husbands Of River Song: N/A

Again there isn’t really a day to be saved here.

The Return Of Doctor Mysterio: Good

He gets Grant to catch the bomb which is good. But he does just sonic the gun out of Dr Sim’s hand and says UNIT is on its way which just sort of wraps it up very quickly.

The Pilot: N/A

No day to be saved here.

Extremis: Good

You could technically call it the sonic saving the day, I consider it to be the Doctor emailing the Doctor to warn him of the future.

The Pyramid At The End Of The World: Good

The fire sanitising everything makes sense and it’s in character for Bill to love the Doctor enough to cure his blindness in return for the world

World Enough And Time/The Doctor Falls: Good

Yes it is the sonic just blowing the cybermen up, but it’s blowing them up with well established pipelines so I’ll allow it (also the story is amazing).

Twice Upon A Time: N/A

No day to be saved here. Just Doctors 1 and 12 getting angsty about regenerating.

Summary for Steven Moffat:

Out of 39 stories written by him, I deemed 4 to be bad with 7 abstaining. That’s 10.3% of his episodes (12.5% if we don’t count any abstaining).

Conclusions:

Moffat was much better at saving the day than RTD

Moffat liked telling stories where the day didn’t actually need to be saved

I’ve spent way too long on this and I need to sleep

If I spent as much time on this as my coursework I’d probably pass

If you’re still reading this, you probably need to get a life

#doctor who #steven moffat #rtd #in case you can't tell I really don't like RTD #Remember the Superwholock days when everyone ripped the shit out of Moffat #what am I doing with my life #tardis #rose tyler #martha jones #donna noble #amy pond #rory pond #rory williams #river song #clara oswald #Bill Potts

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purplebass · 4 years

Text

Dark Light Ch. 3 //Blackdale

Couple/Characters: Blackdale, Lucie Herondale and Jesse Blackthorn Rating: T

✨ You can also find it on AO3 ✨

Chapter 1 // Chapter 2

Trying to hide somebody was difficult, and Lucie hoped she would never have to do it again.

Jesse came to the Institute three days prior, looking for a place to hide. Lucie knew that she would have brought him there if he had been complacent after he opened his eyes to life again, but she hadn’t planned much after then. It had been silly of her not to think about the situation better, but after all of the tests gone wrong, she truly believed she would never be able to pull this off.

Jesse had slept on the armchair in her room. She had never shared a room with anybody, not even her brother James. They had always slept in separate chambers, and only spent time together on her bed when they told each other stories when they were kids.

Jesse wasn’t her brother, nor was he a cousin or a closer friend. Lucie had known him for a few months, and his present self was slightly different from the person she had met. And, if she were to be honest with herself, she liked Jesse too much to put him in the “family” group. He was someone she would love to become her family, a husband, perhaps. Which made everything more complicated.

For this reason, Lucie never changed into her nightclothes in front of him. She was still a respectable young girl, even if she was momentarily sharing a room with a boy. If someone were to find that Jesse had been sleeping there... People were quick to make judgements. She had seen it with Cordelia and James.

Besides that, of course, Lucie’s main source of worry was that the Clave would find out what she did. What would they say? It was a challenge to hide him, let alone explain how he, who had been dead for seven years, was alive and well.

Speaking of which, she had to take one last trip to Chiswick. She still had the Black Volume of the Dead, and if someone would discover it under her bed, there would be hell to pay.

She wasn’t sure the Clave could connect Jesse being alive with her. Did necromancy… smell? Could the Clave trace back to whoever had used dark magic? She didn’t know, and she wished she would never have to know.

“When do you think my mother will find out?” Jesse asked from the window on the fourth day after his return from the dead.

He was eating scones and sipping tea, and watching as the sky grew darker outside. Lucie had brought those things to her room a few minutes earlier. They would be his dinner, or sort of. She hated that she could only give him these scraps, but it would be suspicious if she asked for an extra dish. She rarely ate more than what was served during meals.

Lucie took her eyes off the book she was reading. The question he asked concerned one of the things that were bothering her. “Perhaps she already has,” she said, her tone resigned. “And she’s preparing her revenge.”

Jesse chuckled. “This seems unreal,” he commented.

“What is the last thing you remember?”

He frowned, and Lucie wondered if he remembered anything at all. He could have forgotten about most of his life. “I remember we had dinner, right before the Silent Brothers came to give me my first mark.”

“And then?”

“I recall that I felt sick when they left,” he said, sipping his tea. “And when I woke up, I met you.”

“I see,” Lucie said. “I was doing research about that, by the way.”

“About why I can’t remember?”

“Yes,” she nodded, glancing back on the page she was skimming. “I still can’t find anything. There are no precedents.”

He had come off the window, and approached the desk, putting himself behind her. Lucie bit her lip. The temptation to raise her head and look up at him was strong.

“That’s too bad,” he commented. “Want me to help you?”

“Actually, yes,” she nodded. “Because I have an engagement soon, and I am afraid I must focus on that.”

“More time alone,” he chuckled.

She frowned, and finally met his eyes. He was smirking, and teasing her. “My parabatai ceremony is in a few days,” she explained. “We had to delay it several times, me and Cordelia.”

“There’s no need to explain,” Jesse answered placidly, placing his hands on the side of the desk. “Besides, we both know I can’t go out for the time being.”

“But you will,” Lucie remarked confidently. She put her hand over his. “Soon. I’m sure we’ll come up with something.”

He glanced down, where Lucie’s hand had covered his. She hadn’t realized what she had done. It had been an instinctive gesture to do it. She opened her mouth, embarrassed, and retreated her hand slowly. Jesse smiled, but didn’t say anything.

Lucie continued with her reading, and he helped her. When the clock struck eleven, she stood from her chair, and grabbed her cloak.

“Where are you going?” Jesse wondered, frowning from his book.

“I need to take this book back to your house,” she adjusted the coat around her shoulders. It was freezing cold. “If your mother finds that it’s gone, and I have it,” she sighed, not finishing the sentence. She put the volume in a dark blanket.

“You can’t go there alone,” he warned her. “I must come with you.”

“And risk being discovered?”

“Who said we’ll get caught?” he shrugged. “It’s better if we’re in two. We can watch each other’s backs. And I am acquainted with the property.”

“Alright, you can come. I’m going to grab a coat for you,” she said. “Don’t leave without me” she warned.

…

At least, Jesse didn’t desert her. She feared he would sneak out of the Institute while she was trying to find him a coat that would fit him (in the end she stole one of James’) and go somewhere. She literally ran back to her room, imagining it empty and with the Black Volume already gone. She was grateful that Jesse kept his promise and stayed.

“Do you think she’s home?” Lucie wondered, glancing at Jesse for a moment. They were perched on the driver seat of her family carriage. It would have been less suspecting if they had taken the horses, but Jesse said he didn’t know how to ride.

“She’s rarely not home,” he confirmed. “And when she told us she had to go out, she used to lock us inside of our rooms until she came back.”

Lucie frowned. It wasn’t out of character for Tatiana, but it still chilled her to the bone. Her parents would never do that. She didn’t know how to comment and wasn’t sure if she had to. She remained silent. He didn’t seem to want to be pitied, either, but he probably didn’t even realize the magnitude of his mother’s actions, since that was the only life he knew. He could have grown up by thinking that being locked inside of your room without the possibility of roaming around your property was the norm.

They talked about superficial things during the trip. This Jesse was also an avid reader, and they discussed plot holes and writing styles of Victorian classics. It was easy to talk to him. But then, she had spent the last four months getting to know him. The only difference was that now he was there in the flesh, with seven years wiped off his memory.

“We should go to the back entrance,” Jesse said after they had left the carriage behind. “She never uses it.”

“Is there a back entrance?”

Jesse smirked. “There is always a back entrance, Lucie. Come,” he prodded, and led the way.

“Jesse, wait,” she said, and he stopped instantly.

“What’s wrong?”

“Shouldn’t you get some runes first?”

He frowned. “Is this what you usually do before you sneak in someone’s house?”

“Yes,” she nodded, and took her stele out. “We draw runes that could help us. I thought that maybe you’d want some?” she asked, her voice hopeful.

“I don’t know anything about runes, and I wouldn’t be able to draw any on you.”

“That’s fine, I already got mine before we left,” she smiled, trying to be as calm as possible. “I’m drawing your runes.”

He thought about it for a moment. “If you think they may help,” he began, “then why not.”

“Give me your hand,” she said. He didn’t hesitate, and extended his arm. It was covered by the coat, and he pulled the material above his forearm. She realized how his arm was leaner compared to James’. There was enough space to fit two arms. Jesse helped her, and she remembered that she didn’t ask if she could do it herself. “I’m sorry, I should have asked.”

“Go ahead, Lucie,” he said with a placid smile. “It’s just an arm.”

It wasn’t just an arm for Lucie. She was about to draw his first rune. The moment was monumental for any shadowhunter. Having never been a proper shadowhunter, to Jesse it was ordinary. She wondered if he would remember it.

She proceeded to draw a stealth rune. She wondered what he was feeling, but didn’t dare to ask. “This will help us not to make any noise,” she explained. “While this is to sharpen your sight,” she added, and drew a night vision rune to see better in the dark.

He looked at her work with satisfaction, but also surprise. He had probably never seen runes aside from the faded voyance rune on his hand. Lucie wondered if Tatiana had books about shadowhunters in her father’s library. If she did, she didn’t think that she would have let Jesse or Grace see them, let alone read them.

“Can I cover my arm now?”

“Oh, yes. They’re temporary, but it’s not like it’s ink or something,” she laughed nervously. She couldn’t believe she had just given Jesse his first two marks. She would never forget it.

After the brief rune moment, they continued with their quest. Jesse took her behind the main building. She had never been there, not even when she went to Chiswick with Cordelia or by herself. The door was partially hidden by vines, and that was the reason Lucie had never seen it.

“This is the exit the servants used,” Jesse murmured. The door opened instantly, it was unlocked. Weird. “When my uncles lived here, I believe. We never had any servants. The room where my sister found that book is my grandfather’s private study. I remember that once, my mother lamented that one of my uncles needed his diaries, but she didn’t want to give them to him. And said that your father was wretched because he convinced her. How, I have no idea.”

“He gave her money,” Lucie said as they moved through the corridors and up a spiral staircase. “That’s what he told us, at least.”

The stair wasn’t lighted, but she could sense his smile in the dark. “Your father never keeps anything from you, does he?”

“Never,” she replied firmly. I’m the one who keeps things from him. I’ve kept you from everyone, she wanted to add, but kept silent.

They reached what Lucie remembered was the first floor. There weren’t any witchlights nor mundane lights on. The corridor was bathed in the light of the moon. Lucie was grateful for the night vision rune.

Jesse walked in front of her, and she followed, occasionally casting glances towards the doors in case someone was there. She could hear no sounds, but this didn’t mean that the house was empty. After wandering around statues and broken windows, they finally reached a door in the middle of the floor.

Jesse tried to open it, but to no avail. Lucie drew an open rune, and it unlocked without further pressure. They looked around before entering, and closed the door behind them.

“I don’t know where this book was, exactly,” Lucie whispered. “It was Grace who gave it to me.”

“How did Grace know?”

“I have no idea,” she said, unveiling the Black Volume. She found an empty space on one of the shelves. “I’ll just put it here and we’ll go,” she announced with anticipation.

Jesse signaled her to stay silent. She didn’t know why, since there wasn’t anyone around, until she heard the footsteps and understood. She exchanged a glance with him. He didn’t know what to do either. The door opened, and Lucie started to panic. What would they do?

Jesse pulled her down to the floor, behind the desk, leaving her no time to think about another solution. She held her breath.

“I thought I locked this door,” a voice said, and the steps grew closer to their hiding place. The light from the window outside had turned the pavement grey. The same color Lucie’s face must have been out of fear.

#tsc #blackdale #tlh #lucie herondale #jesse blackthorn #the last hours #tsc theories #tsc fanfiction #chain of gold #chain of iron #chain of thorns #tweety.writes

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mc-critical · 4 years

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I see you’ve read/seen a lot of interpretations of this story. I am only familiar with Magnificent Century, Falconer’s book and Kadin, written by Bertrice Small, whose books are very enjoyable if you don’t take them seriously. It makes me wonder, how do the depictions of Hürrem and Süleyman’s story you’ve read compare to each other?

Heh, I haven't seen/read all that much in its entirety. Aside from Magnificent Century, I've read Pavlo Zagrebelny's novel, Colin Falconer's book, Demet Altınyeleklioglu's "Hürrem", have watched "Hürrem Sultan", the Turkish 8-episode long miniseries aired in 2003 and am familiar with the brief summaries of some early plays of Hürrem's story, described in "Roxelane in European Literature, History and Culture".

As works of art, I enjoy all of these for what they are. There is stuff each of them did right and each of them did wrong in adapting this story in their respective formats. I understand the corners some of them had to cut (though Hürrem Sultan 2003 cut way too many corners), I understand (most of) the compromises they did in order to present their own themes and voice.

Say, Colin Falconer's book truly is a satire that I could never take seriously in terms of Hürrem and Süleiman, but it did something no other interpretation did plausibly enough in my eyes, and that is: showing precisely how Süleiman fell in love with Hürrem and fell out of love with Mahidevran. We got a decent presentation of what he likes in both of them and what does Hürrem have more of. Now, is it also because she somehow dares to enjoy sex unlike the other girls, aside from the other obvious traits of hers like giving good political advice, playing instruments and making him laugh? Yes, of course, because it's "The Sultan's Harem" by Falconer and I expect nothing else. But the process was at least gradual enough and we had enough of his feelings presented and enough chamber scenes that contrast both of them for me not to question it at all. With the other interpretations, something was missing for me - it was all either very forced and plot-convenient (like in DA's book, where Valide loved Mahidevran and YET, wanted to introduce Hürrem to SS and THEN telling herself she played no part at all in SS's falling out with Mahi, we also had Mahidevran that is very extra and taking no crap at all, beating her maids with a stick every time she got angry, and THEN we have her saying that she was never once jealous, never this temperamental since Hürrem, which is very unbelievable in her case, AND we have SS saying that he has never felt joy since the death of prince Mahmud from the book's equivalent of Gülfem, which... then what were you doing with Mahi for so many years, you unbelivable hypocrite?), either very sudden and not fleshed out at all (like in the 2003 series, where we had a literal 1 year time-skip the second after Hü entered the harem and then she went to SS's chamber and.. that was basically it, they became pretty much inseparable since then.). To be honest, Pavlo Zagrebelny hits way more marks in this, compared to all these examples, but the way the beating happened and its part of the falling even more in love process is... less than stellar. MC's problem is that the reasons he fell in love with Hürrem were far more implicit than explicit until.. season 4, basically, these precious scenes where they laughed together were reserved only for the first earlier episodes and then the "concubine arcs" came, which also did a lot to blur their "amazing love". The plays at least take the standard approach (love at first sight after Hü being presented to Valide and/or Hü winning him over), but yeah, Falconer's take takes the cake here, despite of all the negative implications.

All these interpretations aren't that big on historical accuracy, since while they follow the same framework, they are more than willing to detach from the known facts and/or chronology when the plot, themes and character motivations demand it. Pavlo Zagrebelny placed Bayezid's execution way earlier, when Hürrem was alive, for her tragedy to become even more heartbreaking. DA had Hürrem have an affair with a wealthy merchant in the name of Frederick (which happened.. a while before Selim's birth, of course, so there was some doubt Selim was Frederick's...) and Iskender Pasha's (their equivalent to MC Iskender Celebi) wife be infatuated with Hürrem. Hürrem Sultan 2003 for some reason had Mehmet be sent to Amasya instead of Manisa. Which is the most historically accurate?? Probably none. Hürrem 2003 and Pavlo Zagrebelny's book are pretty up there, however, because Bayezid's execution was the only time I recall they did some change, but I could be wrong. (at least that was the only glaring, major change) Hürrem Sultan 2003 was more of a documentary series than a serial drama, tragedy or the like and we could say it is more accurate in comparison to the others, but for its own 8 episodes it doesn't stand out as much. But, oh no, don't get me started on the plays, because they're more ridiculous than even Falconer. Like the one with the outrightly soapy twist where they have switched the children, so Mustafa turns out to be the son of Hürrem (she's even called Regina there!), but Hürrem learns it only when she had already played her part to kill him. Those are truly peak comedy! 🤣 The harem titles are a mess everywhere, though. And no version of the story, Zagrebelny's aside, gave Hürrem's haseki title the gravitas it got historically, with Mahidevran even being a Haseki both in the 2003 series and in DA's book, so fans, this isn't Magnificent Century's invention, thank you very much.

The portrayal of the various characters mostly depends on which side the writers are on and where they want to put nuance. Pavlo Zagrebelny, with his work being rooted completely in Hürrem's favor, has the rest of the characters aside from Süleiman very antagonized to mirror the toxic Ottoman system Anastasia (yes, Hü is Anastasia Lisovska there) has found herself in, but I think they're nuanced enough to be realistic, unlike the satirical caricatures and one-dimensional archetypes Falconer cooked up. Demet Altınyeleklioglu had more than decent characterization overall, despite of some failings here and there. (like her Mahidevran being a mixed bag that is guilty-pleasure material, Ibrahim's motivations being too vague at times, regardless of his depth and their Hatice being.. Aybige 2.0, which is also 2003 Şah Sultan, by the way.) Hürrem Sultan 2003 had a problem with this, because of its more documentary nature. It only shows the historical events in depth enough to say "Well, that happened!" and nothing more. Is it because they had to compress time or rush stuff when the show didn't succeed as much as they expected it would? Is it because they found themselves lacking time to flesh out the characters and put them through arcs post-E05? It is because they didn't want to touch the issue of Mustafa's death yet, so that's why it happened so ridiculously and came out of absolutely nowhere? Nobody knows. Still, I think Magnificent Century succeeded to have almost everyone get a glimpse of spotlight, while these interpretations were more focused on one particular story, giving much less attention to everything else.

Aside from Falconer's take, I liked all the Hürrems in the fictional interpretations I have read /seen. As I said, DA's Hürrem is perhaps the one I could see as the historical figure - both nuanced and realistic. She has been taught haremly manners back in the Crimean saray AND engrained in the life of the wild animals in the forest before that since the age of 14/15, which creates a juicy combination of wit, charisma, lost innocence and character depth. Her motivations are particularly interesting - what is driving her her personal determination to be remembered for what she is and what she does, not what she used to be, which is an empowering catalyst to her will to survive. We see how she does all these little steps to get to the top, detaching from her past as a result, and that is shown throughout the whole story, unlike in Magnificent Century, and she wants to do it, unlike Pavlo Zagrebelny's character. This determination of hers to become something remarkable is moved by all the trauma she had experienced and she constantly has to fight with the belief that one could never go past where they've come from. She, like Meryem Uzerli's Hürrem, is both emotional and smart. Honestly, her hypocrisy and the ways in which she manipulates could get to my nerves and I can't really root for her, like MC or Zagrebelny's Hürrem, but she truly is a fascinating character. Zagrebelny's character is also very sympathetic, with her getting higher and highter positions, but never forgetting where she came from, never forgiving them for taking her childhood away from her. Her story is probably the most tragic one right from the start, since the more she rises in the hierarchy, the more she remembers her own background and this palace truly feels like a cage for her, taking so much of her strength to keep it all together. I feel the funny side of her character is focused the most on out of all the interpretations, because of the numerous scenes she laughs (also because she feels cold and that's the only way she knows how to diminish it and lighten up the mood in the cold palace) and because the very first thing the harem remembers her with, is her laugh that contrasts with all else. Her ambitious hatred for Süleiman could be very overplayed, especially near the end, but I let it slide because it works more often that it doesn't. (and the most powerful poem in the book wouldn't have existed, if it weren't for her hatred for SS!) Hürrem in the 2003 series is fine, but underwritten, like literally every other character there except Valide Hafsa, but she is harmless enough and her best moments are with SS and that's a rare and precious thing to have. The plays have Hürrem portrayed mostly in extremes (with some nuanced takes here and there), but the ways some of them establish her character can be very unique and imaginative. (like the one in which they did that through an in-depth interview with her!)

Süleiman is... there, but that's to be expected, since these aren't his stories. The most fleshed out Süleiman is of course, MC Süleiman from our beloved Halit Ergenç. Whether we like him or not, he had a well-developed character arc and was very well written and deconstructed. Next to him is probably Zagrebelny's SS, but outside of his love for Hürrem, I feel he is characterized more through descriptions of his historical campaigns and of his actions for the state than dialogue. The others weren't as memorable, but I give 2003 SS props for not acting like a total douchebag after the beating.

#magnificent century #ask #minetteskvareninova #i could go on and on for all the characters #but that would turn out way way too long #btw i don't remember the exact names of the plays I refered to #because gosh that book has summerized soo many

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paradife-loft · 4 years

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wh.. when did wwx make his enemies eat their own flesh and fight the reanimated bodies of their loved ones ?? in the novel ?

Aaahhhh, anon, I hope you’ll forgive me for saying that, even knowing what this ask is in response to, seeing it pop up in my inbox did make me laugh XD Not in a bad way! It was simply very unexpected, and also very specific. So thank you for brightening my day! <3

(For context, for everyone else watching along at home - mentions of WWX doing those things came up in this thread, re: MDZS’s general moral greyness.)

But, okay, getting to the point, yes, those events are details taken from the novel! Specifically, I would say they’re things that were... pretty heavily implied, or are reasonable conclusions to draw based on the surrounding context, rather than being literally explicitly stated in the novel? But still.

The bit about making people fight the reanimated dead bodies of people they knew and cared about, I believe is a reference to the battle at the Pledge Conference at Nightless City, and perhaps also the Sunshot campaign in general. I looked to see if I could find an exact quote detailing this, but I was unsuccessful going through the most immediately relevant chapters I can think of, so I’m not sure if the topic is directly addressed ever in the book? (If anybody has a textual source for this part, lmk and I’ll edit to add it in!)

But in any case, even if it’s not stated directly in the text, I’d say it’s at least a reasonable-supposition-become-fanon due to a couple reasons. First, the fact that at the Pledge Conference battle, Wei Wuxian raises a bunch of corpses straight from the ground the other sects are all standing on - as this was the site of the last major Sunshot Campaign battle just a few years ago, presumably some portion of those dead would be members of the non-Wen sects who the present Pledge Conference attendees would have known. Second, I think people tend to figure that, since he’s fighting during both the Pledge Conference and the Sunshot campaign by raising and directing armies of reanimated corpses, it would make plenty of sense tactically for him to add the people immediately killed in any one battle into the ranks of his forces as well - leading to his enemies having to fight against members of their own sect who’d only just been cut down a few moments ago.

(Admittedly, until/unless someone points me to a specifically contradictory part of the text on this bit, I do think it’s fair if you don’t necessarily buy either of those explanations, for logistical reasons, emotional preferences, whatever, and don’t include that as a part of your interpretation of events &/or the character. YMMV! MXTX is certainly not very detailed when it comes to descriptions of what’s actually happening during battles, so I think there’s for sure room for different headcanons.)

That aside, the other piece, “making his enemies eat their own flesh,” does actually have much stronger specific textual support - it’s pretty heavily implied as part of how Wei Wuxian was torturing Wen Chao after he left the Burial Mounds for his bloody revenge rampage! (Relevant quotes from the book under the cut for length and gore.)

From chapter 61 (ExR translation):

After Wen ZhuLiu finished applying the ointment, he took out a few buns from his lapel and put one in his hand, “Eat. We’ll continue after you finish.”

With shaking hands, Wen Chao cupped it in his hands and took a bite out of it. Seeing this, Jiang Cheng remembered what a plight he and Wei WuXian were in the day when they fled. The didn’t even have any food. Such a situation was karma indeed!

Heart filled with joy, the corners of his curled lifted and he broke into mad but soundless laughter.

Suddenly, Wen Chao looked as if he had bitten something that caused him react with such a petrified expression. He threw the bun away and screamed, “I’m not eating meat! I’m not! I’m not! I’m not eating meat!”

Wen ZhuLiu passed him another one, “This one isn’t meat.”

Wen Chao, “I’m not eating it! Take it away! Get lost! I want to find my dad. When can we get back to my dad?!”

And then a bit later, in chapter 62:

He walked a few steps nearer and kicked into a white object by his foot. He looked down. It was the meat bun that Wen Chao had tossed away.

Wei WuXian raised a brow, “What, you’re a picky eater?”

Wen Chao fell from his stool, screeching, “I’m not eating it! I’m not eating it! I’m not eating it!”

As he bawled, he crawled on the ground with his finger-less hands. The long black cape slid down the lower half of his body, revealing his legs. The two legs dangled from his torso as if they were burdensome accessories. Even wrapped within bandages, they were still unusually thin. Due to his violent movements, the bandages stretched out to form gaps. Inside were ghastly white bones, crimson blood and strands of flesh still hanging from them.

All of the flesh on his legs had been sliced off, piece by piece. And, likely… all of the flesh had been eaten by himself!

Wen Chao’s sharp screams echoed within the empty courier station. Wei WuXian looked as though he didn’t hear anything. Lifting up the hem of his robe, he sat down at another table.

So yeah. If we’re quibbling, it’s also not stated directly that Wei Wuxian forced him to do this, but like.... the snark on WWX’s part, combined with the scant likelihood of Wen Chao eating his own flayed flesh for some reason that didn’t involve force/mind control/etc..... it seems fairly clear to me what conclusion we’re supposed to draw.

...Though also I think fairly clearly, this is not something that we’re supposed to take Wei Wuxian as doing on the regular, or even more than once, for that matter. It’s a pretty special Wen Chao Fuck You Specifically deal.

So yeah! A general theme of MDZS the novel, especially compared to The Untamed: Has A Lot More Visceral Body-Related Horror Going On, Especially Where Wei Wuxian Is Concerned. Thanks for the ask! :D

#ask a James #MDZS #Wei Wuxian #rambling #anonymous #Anonymous

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strangertheory · 4 years

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you bylers are so stupid el isnt will why do you bylers want to make el will shes a girl and shes dating mike get used to it!

If I understood your Ask correctly, I believe that you are referring to the theory that I consider to be the most likely explanation for what is going on in the series: that Stranger Things is about a DID System, that Will is a host in the System, and that El is an alter.

I will attempt to address the questions implied by your Ask one at a time. I know that you might not be especially interested in a longer explanation or response and you were probably just venting and feeling frustrated by some ideas that I've written about on my blog, but I actually really respect some of the questions that you've implied with your statement and I feel like it would be good to talk about them.

To answer the first part of your statement: Yes, I know that El is not Will. And when I discuss the theory that I think that Will is a host in a DID System I still assert that El is very much her own person. But yes, I theorize that she is an alter within the same DID System as Will.

"El is her own person. With her own free will!"

- Nancy Wheeler, Stranger Things 3

When someone has dissociative identity disorder and has alters: each different state of consciousness, or alter, is a very different individual and their own person. Treating them as being "the same person" is incorrect.

I understand that DID is a very complex condition and I respect that it takes time to learn about and understand. I want to acknowledge that I do not see myself as an expert on the topic and I get nervous discussing this theory sometimes because I don't want to misrepresent DID but I also think that, assuming that this theory is correct and that Stranger Things is indeed intended to be about a DID System, as someone watching the series I want to attempt to learn more about DID and the correct terminology and the diversity of experiences that DID Systems have in the real world and to not allow my understanding of DID to be limited to a fictionalized representation of it in a Netflix series. I do my best to learn what I can on my own. (I don’t think it’s appropriate to limit my understanding of a condition that real people experience to what I see portrayed in a scifi horror series on Netflix. There’s already a lot of misrepresentation of DID in the media.)

Now. There are two hypotheticals that I have considered regarding the theory that Stranger Things is about a DID System.

On the one hand there is the theory that Stranger Things is about a DID System whose alters have supernaturally become flesh-and-blood in the external world and that the DID System’s internal worlds have also escaped the mind as well (ex. The Upside Down, “Russia,” etc.) This is the concept that @kaypeace21 's current theory follows: that Will has powers and there are characters with powers in the Stranger Things universe.

On the other hand there is an alternate interpretation, which I sometimes consider to be a possibility, which is that Stranger Things is a story about a DID System written from the perspective of the alters and that what we see in the show is sometimes (but not always) taking place within internal worlds or altered perceptions of the external world, or perhaps certain scenes are not happening in real-time but are memories being recounted by an imaginative writer (each episode is titled as a “Chapter”) in a story format. Characters could be telling a story of “what happened” and looking back in time from the present into the past (perhaps explaining the Back to the Future references and implications.) In this hypothetical there are no supernatural elements, the fantastical scenarios in the story are interpreted as mostly psychological, and each alter in the DID System is portrayed by a different actor because they are being represented as they see themselves in the internal world of the mind and are not portrayed as all looking the same as their body does in the external world. (Yes, this makes things complicated and intended to be interpreted in a less literal manner.)

I do sometimes consider the latter theory: that Stranger Things's supernatural events are psychological in nature and many scenes take place from alters' perspectives or from within internal worlds and are sometimes memories or ideas and not always literal. And since I do consider the possibility that this is the scenario of the story: yes, I do sometimes theorize that the alters are actually sharing one body (just like with real-world DID) in spite of them being creatively represented on screen in the show as being separate characters. So, yes: I have considered the possibility that Will and El share the same body when in the external world but that they are portrayed by different actors in the show to reinforce the concept that they are each unique individuals. I do have an explanation for this alternate interpretation of the series that I can summarize in a different post someday, but I’ll admit there’s still some holes in this interpretation and that it might simply be easiest to assume that everything came to life and is real and that the supernatural elements are actually real within the Stranger Things universe.

But to return to your second point in your Ask: yes, I am in full agreement that El is a girl. Absolutely. El is a young teenage girl.

I haven't explored discussing body dysmorphia and gender identity within the context of dissociative identity disorder on my blog because they are both topics that I do not have a lot of personal experience with plus the way that they are experienced by DID Systems is unique from the way that they are experienced by singular people with only one state of consciousness and identity, but from what I understand alters in DID Systems will often experience varying degrees of body dysmorphia when fronting and some may consider themselves trans but that's entirely dependent on how each alter and DID System chooses to communicate who they are. Since I'm neither multiple nor trans myself, all I feel comfortable saying is: just like any person, an alter has their own sense of who they are and will communicate that to you and it's surely most appropriate to respect what they tell you. When someone tells you who they are and how they prefer that you refer to them: respect what they tell you. Always.

So. To return to your Ask: no, I'm not trying to make El into Will. At all. Alters are different individuals with different experiences and feelings and identities and should be respected as such.

And, as I've mentioned in other posts: I know that this is ultimately just a theory. An educated guess. A hypothesis. I recognize that this interpretation of what is going on in Stranger Things might be incorrect. But I do think that a lot of evidence points to this being the intended concept behind the series.

I personally go back and forth between whether I favor @kaypeace21 's hypothesis that everything became real in the real world and Will has supernatural powers, or whether I think it's all psychological. (But I do tend to share a good majority of her interpretations of the series and many aspects of her theories compared to most of the fandom, I suspect. I think she's got some keen observations that are worth considering.)

For anyone interested in reading more about the general theory that Stranger Things is about a DID System I recommend checking out @kaypeace21‘s blogpost regarding which characters she theorizes might be alters which is incredibly detailed and thorough, and I recently wrote a very small and much-less detailed blogpost explaining why I think that Chief Jim Hopper (like El) is a gatekeeper alter in the DID System.

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dutydreamed · 3 years

Text

pick five tropes for your character!

01. BADASS BOOKWORM

These characters are quiet, smart, and seemingly physically unimposing, but with Hidden Depths of formidable physical and practical skills. They are Brains and Brawn, with brains dominant, if not quite Strong and Skilled.

Their physical abilities might result from applying their genius to solve physical challenges like they were math problems. Their attention to detail might also result in a Diagnosis from Dr. Badass. While some badass bookworms are surprisingly strong, others might be Weak, but Skilled, relying on flawless technique or supernatural abilities. Sometimes a bookworm can lack any special physical traits, but has access to an Impossibly Cool Weapon or enough firepower to make toe-to-toe combat, as they say, academic. A favorite weapon of the bookworm might even be what's always close at hand.

Elderly examples are often Old Masters who have spent decades contemplating philosophy and punching trees in half. Another common type is the Adventurer Archaeologist, who spends as much time studying in the University as that type does evading the poison-tipped arrows of angry natives. If the bookworms are a bit ditzy or talented but lack common-sense/etc, expect them to be Crouching Moron, Hidden Badass. If they prefer not to fight, doing so only when they must, then they have Minored in Ass-Kicking. They are very likely to wear Specs of Awesome. In a Five-Man Band specializing in Brains, a Badass Bookworm might as well be The Big Guy.

The trope is the converse of Genius Bruiser. A Badass Bookworm looks like your standard geek, but then displays a surprising amount of physical prowess, whereas a Genius Bruiser looks big, strong, and tough, then unexpectedly shows off an intellectual side. See Muggle with a Degree in Magic if their bookworm side is what's making them impressive.

02. SPIRITED YOUNG LADY

There is a certain kind of character commonly found in historical fiction set in the nineteenth and early twentieth centuries (though she can appear earlier or later, too). Her literary ancestress can be found in some of the best-loved novels of the Regency and Victorian eras. She is the girl who bends the rules just a little. Oh, she can dance a country dance or pour tea with the best of them, but she may also be a good walker or horseback rider. She may be the most intelligent girl in the story, and she is almost certainly the wittiest and the most outspoken, sometimes earning her the title of spitfire. She may be talented in more practical ways, as well: if given the opportunity, she may turn out to be a wise investor, and she may harbor talent for music, writing, or art that goes beyond drawing room entertainment and might become a means of financial independence if necessary. In rare cases, she may even solve a murder. Though she occasionally runs into some trouble, especially if she fails to obey the powers that be, she usually comes through in the end. She will be the Veronica of a Betty and Veronica love triangle, and the hero is likely to find her more enticing than her more docile sisters.

The Spirited Young Lady has the same grace and style as the Proper Lady plus an added spark of attitude or rebellion that is missing from her more-prim-and-proper literary cousin. This is what makes her such a popular character today: she is the character modern audiences can most admire or relate to. In historical fiction, she is likely to be a proto-feminist. In nineteenth-century literature, she may not speak out for women's rights generally (a few examples do), but she will speak out for her rights pretty clearly. Her willingness to say what she wants is part of what makes her stand out.

03. UNDYING LOYALTY

A character characterized by their loyalty. Can be a trait of both heroes and villains. Most of them are supporting characters, intended as sympathetic. Indeed, if used on a villain, it can sometimes be used to flesh them out and give them redeeming qualities. Alternatively, it can be negatively portrayed as a threat to conscience.

When given to a main character or one in an authority position, expect it to manifest itself in protective instinct: as a Papa Wolf or The Caretaker or someone who is A Father to His Men. When given to a Sidekick, expect it to be an unselfish willingness to support the main character. It can also be given to friends who, despite their differences, are genuinely fond of the other, and bonus points if it works both ways.

Should the object of this loyalty die, expect generous helpings of Due to the Dead as the loyal one works to honor the fallen one's memory.

See also: My Country, Right or Wrong, My Master, Right or Wrong, Thicker Than Water, I Will Wait for You and I Am Spartacus. An Act of True Love will often be used to prove how loyal one character is to another, by having them perform a great sacrifice to show that they'll put someone else's needs before their own.

Similar to but not to be confused with Blind Obedience, where a character follows unquestioningly believing their liege to be infallible. A loyal character isn't necessarily defined as a perpetual Yes-Man, and may know when to defy or contradict the subject of their devotion, especially if it's as much for their well being as their own. At times this trope might actually come at the expense of those they follow, since they will generally not obey an order that comes at their expense or abandonment.

04. STRANGER IN A FAMILIAR LAND

A character returns home after a long absence and finds that they no longer fit in, either because their home has changed too much over time, because they themselves were changed by their experiences or both. In the second case, it can lead to a But Now I Must Go sentiment. In less extreme cases, the character may eventually settle down again with some effort.

Prominent real-life examples are usually based on soldiers returning home, most commonly from World War I or The Vietnam War, or prisoners who find after serving their sentences that they can't adapt to life "outside". This is also relatively common among anthropologists and related fieldworkers who come home after a long stint in another society only to realize how bizarre their own culture really is. Another common case is people who were raised in another culture who travel back to their family's homeland — despite sharing cultural ties due to their family's past, they experience Heritage Disconnect and find themselves alienated due to their foreign upbringing.

Present in Western literature as early as in Homer's The Odyssey, making it Older Than Feudalism.

Related to You Can't Go Home Again, Never Accepted in His Hometown, Going Native, and possibly So What Do We Do Now?. This experience may be part of causing the character in question to go From Camouflage to Criminal. Occasionally overlaps with Where It All Began. Contrast Home Sweet Home — although this trope may also make the character realize that his home is no longer the place where he used to live. He may find that his old bed is too soft and he now Prefers Rocks to Pillows.

05. I DID WHAT I HAD TO DO

Sometimes a decent person has to do something bad because it is the only way to prevent something worse from happening. 'I Did What I Had To Do' generally involves an after-the-fact justification for morally questionable actions. The culprit presents this statement when he's confronted with a "What Were You Thinking?" or "What the Hell, Hero?" reaction from someone (particularly The Heart) to whom he owes an explanation.

The questioned character will generally say, "I did what I had to do." And, more often than not, nothing else.

The consequences of such an action vary, of course, depending on the work's place in the Sliding Scale of Idealism vs. Cynicism. A character who sincerely regrets the 'necessary' action is likely to regard it as Dirty Business, suffer Past Experience Nightmares, or try to forget through chemical means. Someone who realizes they don't feel all that bad about the 'necessity' may be suffering from Start of Darkness. A character who was already rather amoral might say this only because they're upset that they had to get their hands dirty.

Generally associated with OOC Is Serious Business. Compare Well-Intentioned Extremist and It Seemed Like a Good Idea at the Time. When the character's motivation is her responsibility to those under her command, see The Chains of Commanding. If the consequences shown actually justify the action, then The Extremist Was Right. A character growing too comfortable with 'doing what I had to do' is guilty of a Reverse Slippery Slope Fallacy. Can be a Moral Event Horizon if it was particularly cruel or if they're particularly callous and nonchalant about it when confronted. If invoked large-scale by a Visionary Villain, it's Utopia Justifies the Means. Also, see Just Following Orders.

TAGGED BY: @standbetween

TAGGING: @edithmaslow @wclfdreamt @papilosomnia @inqisita @highaever and you, yes you reading this right now

#there are many names in history (codex).#well-intentioned extremist also applies post-trespasser :)

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deans-haunted-baby · 5 years

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Why I don’t think Michael will side with Chuck in the End

I know there’s theories floating around that Michael may have been deceiving the Winchesters in 15x08. Its true we have no idea what his agenda is or if he’s that interested in playing nice with TFW. They did trap him in Hell with their half brother for a long time so he’s not exactly warm & fuzzy about that. However this isn’t the psychotic, sinister version of Michael from the alternate universe nor is he the same steel cold obedient soldier back in 5x22. He’s changed massively. There’s more humanity in him now than he’d like to admit. In spite of what we’ve seen from Michael in the past, I don’t think he’s interested in harming Sam and Dean, at least not currently. And I just can’t see him running to Chuck, not after receiving all that alarming information. So I'm going to present the following reasons for why he probably won’t turn on the boys. Number 1 being the most important. Adam Milligan.

For however it happened the archangel bonded with a human. The formally resurrected 19 yr old illegitimate son of John Winchester. All those years spent in the cage these two managed to forge an understanding between one another; an unusual strong connection. They're friends and allies. Michael listens to and respects Adam’s opinions even if he doesn’t always agree. Allows him freedom to control his own body. And despite being the ruthless warrior that he still is, Michael’s been shown to be much more merciful, patient and compassionate compared to when the boys last faced him. Because of his relationship with Adam, Michael’s developed a newfound appreciation for humanity similar to his aunt Amara aka the Darkness. He truly cares about Adam and protects him. Like at the diner when he smote Lilith for posing a threat. Then instead of killing the witnesses in front of Adam, Michael chooses to spare their lives by erasing their memories. He even defended Adam to the Winchesters further demonstrating that he does consider his feelings. That’s beyond the person he was when he told Dean “Adam isn’t home right now” all those years ago.

So I have no doubt Michael will do what ever means necessary to keep Adam safe from Chuck, who is hell bent on destroying the world which Adam is part of. Even if that means siding with some old enemies to take him down so be it. As the old saying goes “the enemy of my enemy is my friend”. Of course that doesn’t mean Adam shares any love for Sam and Dean. Hell no. He made that pretty clear at the diner. He has every reason and right to hate them after ten years of failure to save him from Hell. Every reason to make them suffer. Adam deserves to be pissed at the Winchesters and the world for doing him dirty like that. But...for better or worse, Sam and Dean are still his brothers. Its for that reason and that reason alone that I don’t see Michael threatening to go after them later. He knows Adam wouldn’t want that unless (he really is a scheming crazy person deep inside) Michael’s friendship with him is just smoke & mirrors which I don’t believe for one second.

And Adam’s been presented as being a very forgiving, kind soul despite all the pain he’s been through. Revenge wasn’t even on his mind the moment he got out of that cage. It was human food on top of wanting to go back to school or get a job. Meaning he cared more about getting back to some sense of normalcy. Then when Castiel and the Winchesters pulled him and Michael into their crisis, Adam was willing to hear their side and attempted to convince Michael to help them. Why go through that whole charade if Adam just wanted Sam and Dean hurt or dead? They had every opportunity to double-cross TFW while being held captive but instead Michael & Adam chose to put aside their grievances, at least for the moment, and give the Winchesters something useful. Now whether or not the spell actually works (I doubt it’ll be that simple) is the mystery. However this definitely not the last time we’ll see these two characters which brings me to point number 2. Jack Kline.

This is a big one. Why you ask? Well lets go over that scene in 15x08 where Castiel shares his memories with Michael and Adam. There was so much foreshadowing in this moment (from Michael/Adam’s return down the road, to Michael’s unavoidable confrontation with Chuck and finally his eventual encounter with the young Nephilim himself) based on how that scene was shot and edited. The primary objective was Michael watching Jack die at the snap of Chuck’s fingers and reacting to it along with all the other nasty business his dad’s been doing behind the scenes. Talking didn’t seem to be enough to get through to Michael and neither did antagonizing him. His stubbornness and arrogance wasn’t surprising being he is the Prince of Heaven and has a blind idealized devotion for his father as his loyal son. So in order to open Michael’s eyes and get him to see the truth, Castiel focuses his energy on the most ruthless, evil act Chuck has ever committed. Murdering his grandson and Michael’s nephew.

Doing this Castiel shatters that righteous image Michael has had of his father forever because Chuck/God (father of all creation) is suppose to be the embodiment of light, love, hope, peace and benevolence. He created Michael to be his champion of humanity; the guardian protector of Heaven and Earth. Its Michael’s sworn destiny to defend good against evil. And Chuck crossed the line, several in fact. He represents everything Michael was born to oppose. Trying to mess with free will, attempting to destroy everything he created all out of spite because the Winchesters refused to play his games anymore. But above every horrible thing he’s ever done there’s no sin greater than taking the life of his own flesh and blood. A child born of a human (God’s greatest creation) and an archangel (Michael’s younger brother Lucifer whom, despite their conflict, he loved immensely). That is unforgivable. No matter how much he may still love him, Michael has absolutely no reason to trust his father; not after all those centuries of deception. And Chuck has shown he has no regard for human life let alone the lives of his own family which Jack’s death all represents.

Now Michael chose to leave at the end of 15x08 after giving our heroes the spell to trap Chuck and showing them the door to Purgatory. But what’s interesting about that is his reference to the Darkness. It’s unclear if Michael even knows Amara has been released and neither Dean or Castiel ever mention it. I wonder if he can sense her energy. So the question is where is Michael going? Is he planning to seek her out or leaving to confront his father (which I doubt since Chuck is preoccupied with Sam and Eileen at the moment)? What we do know is Michael and Adam can’t avoid the inevitable. They’re as much apart of this fight as TFW whether they like it or not. It all depends on which side Michael ultimately chooses. Will he align himself with the Winchesters or is he going to be on his own side? It’ll be interesting to find out when the show returns in 2020! And I’ve been thinking a lot about what Michael’s interaction with Jack will look like when they’re finally reunited because if its anything like what we saw with Gabriel (or better) that could be a good sign for Sam, Dean and Castiel.

Out of all his paternal family members Jack’s so far met his biological dad (that didn’t go over so well), his grandfather (that didn’t go well either) and one of his archangel uncles. He’s yet to encounter his great aunt Amara the Darkness or his most powerful famous warrior uncle. The original Michael. Those are interactions I’d very much like to see happen before the show ends. But for arguments sake lets say Michael does consider turning on the Winchesters. Not that he would or might but what if he still has doubts. Jack could be TFW’s best chance at gaining Michael’s trust, cooperation and alliance. He could tell his uncle that Castiel and the Winchesters had been raising him as their own; protecting him since he was born. Things I’m sure Michael might appreciate. Or Jack could confide his biggest regret (accidently killing Mary Winchester) as a means to bond with Michael and help him understand the Winchester brothers a little better. Reminding Michael and Adam of redemption and forgiveness. That any pain the Winchesters might’ve caused them has no comparison to what Jack took from Sam and Dean and yet they’re still a family.

It’ll be fascinating to see how they go about the dynamic between these characters considering what happened with AU Michael in S13 and S14. Jack may be a little hesitant of his uncle at first and Michael may be hostile (since he probably knows Nephilim are forbidden) yet curious or a combination of both. Or maybe their first encounter may be a bit softer than expected what with Adam in the middle of things. Michael could become very taken with Jack and protective of him. He was very distraught after seeing those horrifying images of his father killing his nephew. And I could see Adam being their ice breaker (oh the comedic possibilities of this!) he’s a very laidback, likable chill dude not to mention Sam and Dean’s half brother. Yah that little detail is probably going to be the most shocking for Jack since Adam’s never been a blip on the Winchesters’ radar.

Moving onto point number 3. Heaven. It’s dying which is why Jack was manipulated into creating new angels to power it up. After all the damage done by Metatron, Lucifer and the Entity it’s left in ruin and without proper leadership. We know as of right now Michael has no intention of going back there. He’s severely withdrawn since learning his brothers are all deceased and probably feels like a failure and a fool. But none the less he’s got unfinished business back home. By the time Supernatural ends someone’s got to be left in charge of things up there, my moneys on either Amara or Michael since he’s the heir to the throne of Heaven. It would be a fitting ending for either of them. Maybe Michael will somehow restore Heaven’s power (with Amara and Jack) and reopen it for the all the earthbound souls. Or maybe in the aftermath of the final showdown against Chuck, Michael will just hang around with Adam and whoever else is left standing on Earth. And finally we reach my last point number 4. Amara.

What do we know about Michael’s complicated history with his aunt? Not much either than the fact that he and his brothers were ordered by Chuck to seal her away centuries ago; with no intention of ever releasing her. Something tells me Amara wouldn’t harbor any kind of affection for Michael, not after what we saw with Lucifer. And we have no idea if she still shares that same connection with Dean as she did in S11 (though rumor has it they got an upcoming storyline together in the back-half of S15) or if she’s even interested in lending a hand in the Winchesters’ business of saving the world. However Amara has been shown, like Michael, to have developed a love for humanity. She’s having the time of her life vacationing all over and taking advantage of her freedom. I don’t think she’d be too thrilled knowing her brother plans to destroy all he’s accomplished and he’s not exactly her favorite person to be around. She’s completely done with Chuck’s crap. He’s alienated her to the point where she wants to be as far from him as humanly possibly.

And if she does still view Dean in a favorable light after what he’d done for her, that could be what persuades Amara into helping TFW. Michael would have to be an absolute moron to attempt an attack (if he decided to make them his enemies) if Sam and Dean manage to get the Darkness on their side. Its canon that she’s far more powerful than the archangels which is why it took all of them combined to lock her away. That said I don’t think Michael’s character is being set up as a villain. We already had AU Michael, been there done that. Nor do I see him and Amara at odds specifically because of their deteriorating ties to Chuck. Could their reunion be pretty heated and violent? Possibly. Its hard to say where they’ll stand with each other when they cross paths, there’s some bad blood between them for sure so they’ve got some family issues to sort through. But as of right now, what’s happening is bigger than both of them and their angst. Ironically Michael and Amara got more in common with each other than they realize.

Both of them were abandoned, lied to and used by Chuck on top of being imprisoned for many years. And they actually care about the world they're currently inhabiting which Chuck wants to end. That’s got to be worth more to them than some old discrepancies in the past. Enough for them to want to put aside their differences and work together to stop Chuck. Imagine how awesome this storyline would be, former enemy family members coming together because of a common threat they’re all facing. Michael and Amara along side TFW, that’s a pretty badass team. I WANT THIS. I want to see Michael get to be a good guy. Become an ally and the honorable hero he was meant to be. Saving humanity whom he now cares about with his human best friend. We deserve to see this version of Michael come into fruition before the show ends.

Anyway those are my thoughts on the Michael/Adam situation. I hope it comes true or most of it anyway. I know Supernatural is building up for a big finish. It would be nice if they didn’t waste two characters we haven't seen for ten years. I want to believe that they have plans for Michael and Adam that don’t include killing them off for shock value and/or villainizing them at the last second. They deserve better than that. 15x08 was a perfect example of how to utilize and develop these characters into the plot. They have so much potential and story left to tell. Lets hope the writers know what they’re doing.

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fimflamfilosophy · 4 years

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Characters Akimbo, and How to Create Them

A long time ago, I wrote an article called “OCs Akimbo and How to Make Them”. This was in the golden age of the internet when people still owned their own websites and we walked uphill, through the snow, both ways because it was good for our glutes. We didn’t need to be fed a constant stream of memes produced by bots in Malaysia because we were not yet living in a post-ironic, dystopian future where many are forced to work from home or not at all. The joy came to us naturally in those times, and a “meme” was a thing that saved bandwidth, so you couldn’t spam them – bad memes were a waste of money and a waste of good internets.

But that article has been lost, swallowed up like so many other web-ventures of old by the insatiable beast known on Walstreet as FANG (Facebook, Amazon, Netflix, and Google; Netflix is in there because the acronym is rude otherwise). Also, people don’t write articles anymore. They’re too efficient and only run ads at the top and bottom of the page without interrupting what you’re trying to read, unless the author is one of the sub-human monsters that puts ads in the middle of his articles and makes you scroll past them just to get the rest of his insipid opinion. Rest assured, my insipid opinions come without ads in the middle. And likely without ads at the top or bottom, either, because maybe only a hundred people will read this and that’s worth about $0.01 today.

So characters! You want to make a character! Put your hands down, we’re not taking questions until later, so for now we assume you’re reading this because you want to make a character for something. I don’t really care what. Whether it’s for a roleplaying game, which has become more in vogue recently thanks to the show “Stranger Things”, I hear, or because you want to present yourself as a foxy cat-girl getting busy with a catty fox-man in your dirty, filthy Discord group.

If you’re designing a character for amorous roleplay, I assume the reality is that you are fundamentally playing yourself, with all the same excruciating hang ups and personal insecurities, except as an animal. But suppose you didn’t want to play as yourself? How to go about that. Well, there are several ways of thinking about it, but since I’m the author, I will use my tyranny of the mic to write as though my perspective is the only valid one.

You Choose Your Shirt, You Choose Your Life

We’ll start with the basic way to make any character and have it work. Figure out how they feel, and then play everything around coping with those feelings. No, seriously, it’s the simple banality of human existence and anything else you can think of is just going to be taking a back seat to whatever your personal psychosis is. That’s all you are – a wet sack of flesh with crippling mental problems and a strategy to overcome them.

To put this in terms you shouldn’t understand, think of how you choose to put on a shirt in the morning. Maybe you choose the shirt because it says something on it, or because you like a specific color, but how do you know you like that color? How do you know you like the band, or the terrible joke you should be embarrassed to wear in public? When asked these questions, many people will try to draw a string of logic. They’ll say that red is a dominant color, or they want to support their favorite musician, or they’re being post ironic and the point of their joke shirt is that it’s not supposed to make anyone happy.

But these are all falsehoods. Every time you put on a shirt, you don’t actually examine the whole wardrobe on an intellectual level and compare their relative advantages and disadvantages on factors as minute as color. People who do such a thing are considered to be obsessive compulsive, which is considered a disorder because they are barely able to make choices. The more time you spend trying to logically examine such a thing, the less able you are to do anything. The truth is, you pick your shirt on a whim because you feel like it, and you like the color red because it reminds you of succulent berries, or your monkey ancestor’s big red ass, or something. The insistence that red is a “power color” is just something people make up.

Many snap decisions come down to your lizard hind-brain and your feelings. People argue that their intellect is so huge, this is no longer true for them, but emotions actually control most of our decisions because emotions work quickly and easily. If you see something and it makes you scared, or angry, you react accordingly and right away. You don’t have ten minutes to evaluate the sight of a snake and determine based on its colors and head shape whether or not it’s venomous. If your kid climbs a tree, you don’t get to do a lot of math about their weight and the height they’re climbing at before you get nervous. Your instincts and your emotions are the same thing, and it’s how you make the majority of your choices.

There are some exceptions, when you have time, where you can try to evaluate facts and figures and try to let that shape how you feel about something, but in this day and age I’m sure everyone has had enough heated political arguments to realize that for many people, feelings can be difficult to change. In fact, much logic is only presented to specifically alter your feelings, and not necessarily to provide you with more comprehensible information. Ultimately, even things you spend a lot of time thinking about eventually get processed on an emotional level.

The Past and the Future are the Same Thing

So what does all this mean for making a character? Well, let’s divert into a little anecdote. I enjoy role-playing games as a hobby, and learned to play in a group that enjoyed a lot of theater and acting. We often shunned systems that were heavy on rules and templates, and focused mainly on having dynamic character personalities with clear motives, then playing those games around those characters. This made running games fairly easy for the guy in charge, because all he had to do was invent a colorful cast of faces for the group to interact with, and then see who they hated the most, then go from there.

But most groups are not especially fond of acting. Dungeons and Dragons is handily the most popular roleplaying system out there, and it’s no coincidence that it’s also one of the most restrictive in terms of describing your job within the group and telling you what you’ll learn as the game progresses. In D&D, the fighter fights, the wizard wizzes, the rogue steals everyone’s money and has to do everything in secret or otherwise the whole rest of the table declares a spot check every time he does literally anything.

And it was while running a game with a D&D sort of group that I first encountered a player who had written four pages of backstory for their character. Just to reiterate, I learned to play with a group that focused entirely on character motives and acting, and I had never been given a four page backstory before. Once we had enough experience, my old group could typically sum up a character backstory verbally, in a few sentences. It would be easy to remember and you wouldn’t write it down because all the important details were short.

There’s something to delve into regarding brevity, but to focus on this four page character – none of the backstory made sense or really conveyed how the character felt about anything. This character, as far as I can recall, obtained magic powers because he walked down an alleyway, was accosted by cultists, the cultists cast a spell, the cultists exploded, and then the character could cast magic. I think he may have also been some kind of zombie, but I don’t remember because it wasn’t an element that was integral, except, I believe, the player used it as justification to hide their magic powers. They were embarrassed about being undead, or something, and even though the rest of the group was doing magic, the character thought their magic would be linked to their lack of pulse. It wasn’t even useful magic – it was the ability to throw fireballs, so hiding it was the best possible way to make the character non-functional.

The rest of the writing was irrelevant. There was information about family history, past work, blood type – whatever – I barely remember it because it was frosting with no cake. The player never wrote a character. They wrote an expository list of events that were all linked to one person without any sort of personality. That is, the player never really understood how this character felt, or how that shaped their life, and it’s clear they hoped that by writing enough things, eventually a character might take shape. As though you might learn a lot about a man by listing what kinds of weeds were growing in his back yard, or by listing the cities he’s lived in, or by listing a chronological sequence of events the person was present during.

This player, and frankly nobody, should ever require a four page back-story for a character. When it comes to writing a character, the core element of who they are, the past, present, and future are all the same. If this person has anger problems, they probably have a pattern of lashing out, and solving their life’s problems by being too frustrating to deal with. If they’re timid, they probably have a history of conflict avoidance. If they’re smooth talkers, they think they can talk their way through everything. Whatever emotional way people engage with the world around them, they’re likely to behave like that through their past, present, and future. You can know who someone is in the present and know who they’ll be in the future without examining an in-depth historical report of their past. Indeed, how else could we interact with other humans if this weren’t the truth?

People get confused easily, and will quickly insist that the backstory makes the character because they see on TV, constantly, stories about the past. A show will say, “this man is like this because of something that happened to him years ago”. But what you have to realize is that when TV does it, and when it does it well, it’s not the past that defines the character. The past events being described are conflict. Say it with me: CONFLICT. Not character.

Conflicting Over Conflict

Conflict is what a character reacts to, and it drives the story forward. So let’s consider, if you were to show a character’s past, how is that story structured. Well first you begin with a character, right? Because without the character, how do you know how this person will react to conflicts? You don’t. So the character is designed before the backstory. So what is this story of the past? It’s a story about some conflict and how the character interacted with it.

If your character in the present is a knife-wielding maniac, then one plausible story about their past would be when they were confronted by a problem that was solved by stabbing the problem. What this shows you is that the character moved towards this behavior of violence, and it worked for them so they kept doing it. Over time, they came to believe that most problems could be resolved by stabbing things, and that’s just how they live now, but it still takes a specific kind of person to try stabbing something the first time.

If you imagine a violent person, you may also imagine they tried conflict avoidance and it didn’t work. Perhaps they tried being confident, and they were quickly ground down. Finally they resorted to violence and achieved success, but that may have been after a long progression of abuse, which is why they also don’t form personal attachments or trust anyone. These looks at the past can add a lot of flesh and explanation to why your character feels certain ways about certain things – why they feel their life’s coping strategies are the best ones. That’s why when you see them, a good story of the past gives the viewer the feeling that they’ve developed a better sense of who the character is.

Whether the past defines the character or the character defines their past is a chicken and the egg question, and something you as a writer would have to decide. There’s no one answer and there are good ways to go about both approaches, so long as you know who your character is before you start doing any writing at all. Because whatever you write, the event you describe will merely be a conflict, a moment, and how the character reacts to that conflict tells a viewer who that character is.

In and Out of Character

Speaking of role-playing games: you’ll find the overwhelming majority of players are on about the same level as those guys pretending to be cat-girls in their filthy, unspeakable Discord group. That is, most people just play themselves, but with a gimmick. They play themselves, but with a stutter, or they’re french, or a they’re a cat-girl, or a they’re a samurai, or they’re a robot; they can be anything, but not anyone.

This gets a bit more into acting, which actually does play in to every work of fiction. To act properly, you need to be able to put yourself comfortably in the mind-space of your character and behave as though you only know what your character knows. The generations-old story of the rogue that steals from the party is a great example of the challenge at work here.

Imagine you’re facing a lot of life-and-death situations back to back with somebody, but this person is also slippery and difficult to trust. They never let you down openly, but they’re constantly wrangling you into bad contracts that benefit them, and you think they might be embezzling the group’s funds. In terms of writing a story, this is a good opportunity for conflict. A good role-playing group can handle this on the fly, while a typical role-playing group absolutely can’t.

A typical role-playing group always has the same response. Whenever the rogue tries to skim a little money off the top, the whole table rolls “spot checks” to catch the thief in the action, and then prevent him from stealing there in the moment. This is what the people playing the game regard as an enforcement action to prevent stealing – as long as the whole table rolls, someone is usually going to roll high enough to catch the rogue before he gets away with it. But how does every character in the game know to be hyper vigilant all of the sudden? Well, they don’t, and just rolling dice at people isn’t how we solve conflicts like this in the real world.

A good group will actually start to develop suspicions they’re being stolen from only after it happens, as they do their accounting and realize they’re short some cash. They may suspect the rogue, but they rely on him to find and disarm traps, and he’s somewhat irreplaceable. So the conflict now becomes trying to solve that problem without simply executing the rogue on a mere suspicion. The other players have to go out of their way to try set some bait or catch the rogue in the act, and if they prove what he’s done, then there can be a punishment. If the rogue keeps getting away with it, perhaps the party starts establishing rules to try to cull the potential for stealing, and now the rogue has to work around these new restrictions.

The second group is more nuanced and more believable. They’re facing a conflict and trying to figure out a way around it, instead of just using game mechanics to stop it entirely. And while this may seem like it begins and ends with roleplaying groups, the logic here works for most every other medium. You can never just have characters behaving as though they know things they aren’t supposed to know, and the way your characters react should follow the fundamentals of how they feel. Characters react to what they know, not what the audience knows.

Another example that would follow closer to other fiction is the following: quite recently I played a super hero game as a “reformed villain”, which basically meant I was playing a villain. The main hero died, leaving a vacuum in leadership, and at the same time a new, young hero joined the group. My villain character quickly swept in and began mentoring this fresh, young recruit, introducing him to as many morally gray aspects of the job as possible. Using deception to get closer to villains, fighting people who were too insane to know better, sometimes even doing lasting harm to ordinary people in the heat of the moment.

As the game went on, the group demonstrated that being a super hero was a very fine line that was difficult to apply idealism to, but my villain never quite killed anybody. He maimed people. He once dressed as a pizza delivery guy and threw a pizza so hard it knocked somebody unconscious. He sold hotdogs on the street without a permit. All while mentoring this kid and showing him the advantages of tap-dancing on that fine line.

Until the villain did kill somebody. A super scientists who was building deadly “Iron Man” style suits for a gang of terrorists used an ejection seat to try to escape the scene, and the villain threw his shoe. The shoe was thrown so hard, it caused the scientist’s head to burst like it’d been hit by a cannon ball. It all happened in the blink of an eye, against the wind, as the ejection seat rocketed off at dizzying speeds, and the villain claimed the murder was not intentional, even though it was clear at the table that I, the player, the author, had killed the scientist on purpose. It’s something I’d done as a snap decision in reality, because I thought the scientists was dangerous and it seemed in character to make that choice.

What ensued was much less in character. The young ward my villain had been mentoring turned on him instantly and carried on, from that point forward, as though the villain had intentionally killed an innocent man. He used the justification that my villain was very accurate and “never missed”, even though my villain missed his aim plenty of times throughout the adventure. He did not respond to any argument about the potential threat of the scientist, or about the very real possibility of an accident in the heat of the moment.

The player knew it was on purpose. The player felt his naive young character was a fundamentally good person. Ergo, he and the villain were now at mortal odds and could never reconcile. It’s a delicate situation and something that some actual writers could fall into, where the audience is shown the intent behind an ambiguous situation, and somehow the characters come to the same conclusion the audience does even though the characters don’t have the same information.

In television, this is sometimes due to run time limitations. Perhaps the character was supposed to gather more evidence before coming to the conclusion the audience was given, but the evidence gathering was cut to save time. But in a book, or a roleplaying game, there’s really no excuse. Everything should be handled based on what the character knows, and not on what the audience – or in this case the player – knows. At least if you’re a purist. I will be honest and admit there have been some popular works of fiction where characters side with the audience in spite of, in narrative, not even having the same moral system as the audience, let alone their knowledge of the plot.

What you actually should have between the villain and the ward, is a major point of conflict. Not in that the ward knows the villain killed someone on purpose and has an issue with it, but that he doesn’t know if the villain intentionally killed someone. That, in and of itself, is a very real moment of awakening to anyone with idealistic opinions on a job that entails violence and apprehension. It requires soul-searching, and even coming to the conclusion that the villain did kill someone and that it was wrong revolves around a complex set of emotional and moral beliefs.

Such a moment is pivotal to a character. It puts them at their lowest point, where they question all they know and all they ever wanted. Where they doubt everything. And how they come out of that situation? That’s the character’s arc. Denying them of that arc, and simply using the audience’s knowledge to make a fast choice obliterates the character’s development and robs them of an opportunity to tell a story within themselves and to their audience. Using the audience’s knowledge is quick, and keeps you on the same page as the viewers, but it is dirty and tells a less interesting tale.

And Your Point Is…?

So like I mentioned at the start, none of this is actually universal. Some stories are more event-driven, and expository writing can be fascinating as well. You really could write a tale about a sequence of events so long as the events were interesting and kept the audience reading, so a strong character isn’t even always necessary. But for what it’s worth, I think knowing how to make a character in such simple terms makes the whole process of writing much easier. If you know your character, you know how they’ll respond to conflicts, so every story is as easy as thinking up a conflict.

But hey, it’s also true that in some settings, trying to follow the rules of a good character or a good story may hurt you. A lot of role-playing groups will shun that type of thing because they’d rather roll dice at the rogue, and they think the person playing the rogue is in the wrong for trying to skim money from the party, because these people aren’t playing characters, they’re playing a game. They don’t care about an opportunity to have a character conflict with the rogue, they want their money, damnit. The fact they have nothing to spend it on in 5th edition D&D is another matter entirely.

#essay

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elliepassmore · 4 years

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The Ever Cruel Kingdom Review

5/5 stars Recommended for anyone who likes: sci-fi, magic, fantasy, multiple POVs, goddesses, disability representation, mental illness representation, characters of color, LGBTQ+ characters, complex morality, demons, quests The Never Tilting World review

This book picks up pretty much exactly where the last one left off, with our main group of heroes being dropped into the desert after making the world turn again. One of my complaints with the last book was that the worldbuilding was there, but wasn't explained as much as I think it needed to be. In this book, however, the characters are learning alongside the readers, so the worldbuilding is explained a lot more. There's also a scholar-esque character in this one who is helpful for explaining things and in interpreting the prophecies. I think the mythology is fleshed out way more in this one, going back further to Inanna, the OG goddess. The theme of duality that was so strong in the first book is still present in this one, though to a more subtle extent. I still found myself really enjoying how Chupeco played off ideas of darkness vs light, life vs death, etc., and how each must be balanced. This one was less light than the other one, I will say that, and each of the characters faces some pretty rough roads. I really enjoyed the plot of this book and how they went through discovering why things in their world were the way they were pre-Breaking and how they can repair the world without returning to that. Surprisingly (unsurprisingly?), the book ended up preaching a very environmentalist message, strongly enforcing the idea that people within the world need to take care of their environment and not pollute the air and the seas lest they end up ruining the only world they have without recourse. I think it's very easy to get preachy when you're putting morality messages into books, but Chupeco does an excellent job of weaving it into the storyline and having it make sense for what happened pre-book, what's happened/ing in the books, and what they're trying to solve within the book. The message is definitely obvious, but it makes sense, which is the important part. I thought the juxtaposition of 'doing what's easy and relatively safe' and 'doing what's best but harder/more dangerous' was an interesting one to put in the book and fits along really well with 1) the environmentalist message, 2) the theme of duality found throughout both books, and 3) the history of the world pre-Brekaing, the struggles of Asteria and Latona that led to the Breaking, and the struggles Odessa and Haidee face throughout the book. The main theme of this book, while still dealing with ideas of duality, seemed to focus more on the bonds between sisters and how others can manipulate those bonds and that trust to get what they want. The 'what's best' vs. 'what's safest/easiest' also played a really big role and could potentially be considered its own theme, but I think it plays really heavily into the 'sisterly bonds and outside manipulation' theme, so I'm counting it as a subtheme. Arjun was the first narrator in this one, and he remains the funniest person in the book. While in the first book I was somewhat under the impression that Arjun went along with everything more so that everything could work out for Haidee, it becomes more apparent in this book that he's really just that 'go with the flow.' About everything. It's nice to see a character, especially in this duology, who is okay with taking at least somewhat of a backseat and acknowledges (if not overtly) that while he's a main character he isn't The Main Character. I liked how he instantly included Odessa and Lan in his circle of people he was concerned with after he saw how much Odessa meant to Haidee and, as an extension, how much Lan meant to Odessa. I also enjoyed Arjun and Lan's relationship in this one, which seemed to largely consist of 'we're in love with idiots' and 'area wo/man in awe of her/his amazing wife.' Out of everyone, I think Arjun gets dealt the shittiest hand in this book, pun unintended, though he deals with it relatively well. Lan comes next, and is still dealing with the trauma of what happened to her rangers pre-Never Tilting World. We actually get to see her open up a little more about it in this book when she shares her story with someone who's grieving. She remains a protector throughout this book and, like Arjun, brings Haidee and Arjun into her sphere of concern when she sees how much Odessa loves Haidee already. She does a lot less healing in this book and more fighting, and it was nice to see the promises of her being a warrior come to fruition a little more in book 2. I thought her reaction to being in the desert was super amusing and can relate to her disdain and discomfort of the unrelenting heat. I also liked that Chupeco showed how uncomfortable Lan was not knowing information about the territory and people she was around, since Lan is used to being someone who knows relatively what she's walking into, and that lack of information puts her at a disadvantage, in her opinion, when it comes to protecting Odessa. Speaking of Odessa, she is so much more likeable in this book than the last one. After she rejected the galla's gifts at the end of Never Tilting Planet, she really comes back into herself and becomes the girl she was at the beginning of that book, and that's who we get through the majority of this one. Of course, rejecting the gifts doesn't mean that 1) they're gone and 2) that the side-effects are gone. So, while Odessa is back to being herself, some of that underlying cunning and cruelty remains and creates a new kind of complexity for her character now that she is aware of what she's doing and horrified by how she acted when under the galla's influence. For some reason, I don't mind her moments of weepiness in this one as much as I did in the first one, though it was somewhat annoying when she compared herself to Haidee, though I know from psychology that that's the kind of trick self-esteem issues can play on someone. I thought it was a nice touch that thinking about the plots and characters from her favorite books helps ground her away from the galla's influence. Overall, I like Odessa much more in this one than the last one and enjoyed reading her character grow and mature. Along those same lines, Lan and Odessa's relationship had none of the imbalance power dynamics that it did in the first book, making it, in my opinion, a better romance all around. After going through everything in the first book, they obviously aren't exactly the same people, but their romance returns to that loving place that it was at the beginning of the first book, but strengthened by everything they've gone through. They want to protect one another in a much more healthy sense, and Lan no longer feels like she's stuck between that space of 'girlfriend' and 'bodyguard.' Each girl got a chance to play protector and guardian over the course of the book, and without the galla's darkness corrupting Odessa, they got a lot more time to be soft with one another. So, much like I think Odessa improved from the first book, I also definitely think LanxOdessa improved in this sequel as well. Haidee is the last narrator and, like the others, is changed by what happened in the first book. For one, while she's still optimistic, she's no longer the happy-go-lucky girl she was in the first book. Seeing the Abyss and meeting the galla really seemed to snap things into perspective, and while she still sees the bright side of things and believes that she and Odessa will triumph, she also doesn't jump into things quite as quickly and unthinkingly as she did in the first book. Things also definitely do not work out for Haidee in this book like they do in the last book, which felt far more realistic and helped eliminate that deus ex machina feeling I got about her in the first book. Much like with Arjun, I feel rather bad for Haidee in this book, since she kind of gets blow after blow, but I suppose it is their turn after having Lan and Odessa face most of the bad stuff in Never Tilting Planet. I think one of the hard things for her, too, was that Asteria, I believe, wanted to listen and reconnect with Odessa, but Latona didn't seem to want to do the same with Haidee, preferring to wish away the turning of the world and all the changes it brought. Obviously, for someone who has fought and continues to fight so hard to change the world and make things better, Latona's dismissal is rather upsetting. Like in the last book, Arjun and Haidee have a good relationship. In my first review I mentioned how it felt like 'insta-love,' which I didn't like, but I reread the first book and it actually seems like it took more than a month (?), still not a long period of time, but, much like Odessa and Lan's relationship, Arjun and Haidee's felt more balanced and less 'insta' in this one. You can tell they both adore one another, and I liked the scenes we get with Haidee and Arjun's brothers and sisters, since you can tell she's delighted to meet them and seems to fit right in. It's also pretty obvious that Arjun loves and trusts Haidee, no matter how much he 'complains' that she gets herself into crazy situations. Like before, he's willing to follow her to the ends of the earth (or hell) and back. Odessa and Haidee have led very different lives, but they click together from day 1 like they've never been separate. They're easily able to mesh together, share ideas and secrets, and understand one another in a way that I suppose only goddess twins can. It was an instant connection, but it worked within the magic system of the book and I didn't really have any moments where I felt like their relationship was too easy or too simple. They both care for one another and, by extension, care for the people each other cares for, though Odessa does form an early friendship with Arjun and Haidee with Lan. While there is some insta-sister-love going on with them, they aren't without their disagreements, some of which come relatively early on. It's really interesting to see the replay of history in Odessa and Haidee's relationship vs Asteria and Latona's relationship, which we also see more of in this one. Both sets of twins grew up apart before meeting, then faced challenges that sought to split them apart. I think part of this reflection comes from that theme of duality: one set of twins caused the Breaking and stopped the world from turning, the other started the world and seeks to mend the Breaking. It was seemingly a misunderstanding that split Asteria and Latona, and there are a number of conflicts that have the potential to do the same for Haidee and Odessa, one of which is actually almost exactly the same situation that caused the major rift between their mothers. Reading their relationship was super interesting, since we get to see so clearly that love between them, but they aren't without their faults. We see more of Asteria and Latona in this one, as mentioned, and we even get a chapter from their perspective(s). I would absolutely love to see a prequel from their perspectives, though I don't know if I want to read their relationship fall apart. There’s not really a way to write about the two of them without getting into spoiler territory, so if you don’t want spoilers, don’t read the rest of the paragraph. *SPOILER* Their rift really does seem to be one giant misunderstanding fostered further by the Devoted and a rather unfortunate accident. Each had a seeming inability to grieve for the other and move on, hence the animosity that continues into this book. While I think they take a stupidly long time to figure out the right course of action, with Latona taking slightly longer than Asteria, I am glad they figured themselves out and are able to reconcile. I love their relationship once they get their shit together and it's so painful to see what might've been...or, at least, what might've been if a sacrifice hadn't been required. Even more painful is their ending, though I know that at least they agreed on it and did it together. *SPOILER END* Noelle is a returning character from the first book, and I enjoyed seeing more of her; I wouldn't mind a sequel from her POV. She was funny in the first one, and I thought she played well off of Lan's more serious and less studious nature, and provided a bit of a calming influence on both Lan and Odessa. She continues to be that character in this book, extending her composure to Haidee and Arjun as well. We get to see a bit more of her studiousness in this book, and she tends to use logic and facts to calm herself in high tension situations. She's also confirmed aro/ace in this book. Vanya is also a returning character, though he plays a larger role in this one than he did the first one. While he gets offended rather easily (like, really? You're offended by Arjun telling you you're being a coward for not standing up to dear old dad?), I grew to like his character and am glad he was able to overcome some of his nerves and get his shit together. Sonfei also comes back in this one and we get to see a lot more of him, including an interaction with him and Lan and him and Asteria. Lisette is a new character who was mentioned in the previous book as Arjun's ex-lover. Despite greeting him with a rather large kiss on the lips, she and Haidee get along extremely well and she jumps right on the 'saving the world' bandwagon they've got going on. She's canonically bi and flirts with both Haidee and Odessa, though that seems to be more for the novelty of a goddess and an admiration of the two of them more than a desire to actually have a relationship with either girl, especially considering she ends up in a different relationship during the course of the book. Nevertheless, it leads to some funny reactions from Arjun and Lan. Lisette's a badass and she is (again) another character I'd like to see a sequel of. Or a prequel. Any Lisette-based book would be good in my opinion. There are some moments when she says some biting things to people, then is prompted to apologize, which I get, for the most part, but there was one interaction between Lisette and Vanya that I was kind of like 'really? You're going to ask her to apologize in this situation? Really?' The ending for the book worked well, especially since I was kind of worried it was going to be a 'almost everyone died' situation. It was not, thankfully. Chupeco did an excellent job of bringing around the themes of the two novels into the solution and ending of the novel/series. It really is a story of love and loss and redemption and balance, and that becomes really obvious in the last several chapters of the novel, when it really does come down to the love and trust between the twins and what, or who, exactly they are willing to give up. I'm waxing poetic about it a little, but it was a really good ending for the story and a really good ending in general.

I definitely recommend reading this book, even if the first one was iffy. If you haven’t read the first one, then I recommend the entire duology. The ending wrapped everything up rather neatly, but I wouldn’t mind seeing more of this world from a different character’s POV, either a prequel or sequel...or just a collection of short stories.

#book #book review #the never tilting world #the ever cruel kingdom #rin chupeco #fantasy #haidee #odessa #lan #arjun #twin goddesses #aranth #the golden city

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