#because it is one of the strong points of this character and with which many of us connect/relate

[the-clock-of-the-time-dragon]

You know what, I'm fucking done arguing with a brick wall.

Hon you can just concede, agree to disagree, and be done with it, you don't have to pretend like I'm a "brick wall" who hasn't been making well-wrought points to refute yours. I took the time to respond very exhaustively to you, point-by-point — give me a fucking break, lmao

Send my apologies to your English literature teachers for having to put up with you.

I mean several of them are dead (it's been quite a long while since I was in school), so I'm gonna stop you right there. All I'll say is: people who are really truly into literature on a professional level, such as my mentors, or myself, have a strong appreciation for deep engagement with a text. What you think of as a "brick wall" (debate, exegesis, and fondness for overlooked details), my English lit teachers held in high regard. We had a hell of a lot of fun dissecting material together. It's fine that you don't enjoy this kind of thing, but don't pretend that it's somehow a slight against you, or that my points aren't worth seeing.

Let me leave you with one thought though, honey. If this is just "reading from the text" then presumably you think Winnie and Stephen agree with your delusions?

Winnie and Stephen pretty transparently wrote Fiyero to be the Early 2000s Slightly Rebellious Male Heartthrob For the Girls to Fight Over and not much else. He's been improved greatly in the film adaptation by NOT being that, and as I've said many times, I would love if they've ended up canonizing the double agent idea in the second film; albeit, as I've explained, I think that he'd lose something if he were made too straightforwardly "good". It doesn't matter whether Winnie, Stephen, or any of the directors or actors that have interpreted Fiyero over the years, specifically "agree" with me. Theatre of all mediums lends itself especially to a panoply of readings. There is no set-in-stone "canon". I just find certain takes to be ignorant of the details of the text, and I've argued against those takes. I happened, in the process, to do analysis which spawned further discourse. But it isn't like my analysis is Word of God: it's just fun to discuss ultima facie instead of prima facie. Your reading may well be closer to prima facie in certain ways — but that's not somehow an argument in and of itself for being "correct". You and I both made our arguments and apparently mine are now left to stand as ultima facie, as you have run out of counters.

Seems awfully cruel of them to go out of their way to save Elphaba from dying at the end of the story to leave her with an oh so awful fascist soldier?

The fact you seem to believe I think of Fiyero as "oh so awful" just tells me you haven't been engaging seriously with anything I've said.

He's a fascist soldier. That is something that should be reckoned with and examined in any real analysis of his character. He isn't "awful" — I never claimed he was, far from it — and he is certainly not the first or last character to have the narrative gloss over more troubling details and implications about what was written for them. But don't come at me for pointing those details and implications out, just because you personally dislike them, lol. I'm not the one who came up with Fiyero volunteering to become a fascist soldier: take that up with Holzman, lol

Also, if Elphaba was happy to fuck Fiyero in the woods and later leave with him, she clearly thought what he did was justified given the circumstance.

Hon, it's not that deep, lmao. They boned because they're passionate people with unresolved sexual tension suddenly given an opportunity — the only opportunity — to resolve it. Elphaba was not weighing his past several years for their moral soundness whilst riding him, lmfao

And I think the biggest Animal rights activist probably knows better than either of us the about the situation :)

Perhaps she does, perhaps she doesn't. We can only speculate. All we know is that she was frightened of him, and was worried he'd bought into the propaganda against her — which is a fair concern, given how he spent those years. She's relieved to find that he hasn't succumb to the hate against her, and that he isn't trying to harm her, and... that's really all that's stated, and that's all that need be stated. It's probably the first time in years that a human hasn't been her enemy — I don't think she wants to go there and review his choices, for her own sake, and I don't blame her for that one bit. But just because she doesn't go there doesn't mean that we shouldn't. We aren't bound to the POV of any singular character: we get to study them from beyond the fourth wall as much as we want, and there's a TON of interesting stuff there.

[Wicked Act II spoilers]

[edited for tone and clarity of purpose, apologies for initial crudeness and frustration]

Okay, obviously I'm biased, but I'm gonna need the Fiyeraba shippers to please set a lot of your people straight about some things. I've seen way too many people trying to say that Glinda is just a selfish bimbo and that Fiyero is a virtuous and selfless figure more worthy of Elphaba's love. I'll set aside for now the idea of "worthiness" in this context. But let's start off with Fiyero joining the Wizard. Hoo boy...

Yes, he was initially somewhat less tolerant of the propaganda against Elphaba than Glinda was; yes, he was secretly trying to find her so he could run away with her or whatever. But honey: those facts DO NOT fully absolve his actions as the Wizard's top officer, or selfish recklessness throughout Act II. I see so many popular threads and posts romanticizing and whitewashing with "oh but he didn't REALLY join the Wizard, he just pretended so he could try to get to Elphie! It's all for love, and he sacrificed everything for her!" As if the literal captain of the literally fascist forces responsible for the oppression of Animals wasn't equally responsible for said oppression?? Hello? Fiyero really didn't think of seeking out Elphaba in ANY other way that DIDN'T involve becoming *checks notes*... the trusted leader of the troops committing all the abuses she's fighting against in the first place???? Like it's cool and all that he helped with Brrr, and it's all well and good that he planned on betraying the Wizard as soon as he found Elphaba (which took literal years, so I guess we're left to assume he was prepared to just keep doing fascism indefinitely if she didn't show up????), but uh... it's kind of concerning to how eager some of you are to make excuses for this dude volunteering as the head of the Ozian Gestapo??? smdh

He didn't accomplish anything from it either, by the way — like yeah, we get it, he did everything he did whilst silently fantasizing about running away with the Witch he was being paid to hunt. Fine. But I can't be the only one who doesn't buy that as an actual excuse???? Like, guys: nobody forced him to join the fascist army — even with crazy ulterior motives. He wasn't coerced into it; it wasn't his only choice or anything. Searching for Elphaba did not somehow compel him to go and volunteer to follow (or to give!) orders in the name of the dictator who was trying to have her assassinated the entire time. He could have just not done all that. (Genuinely so curious how the second film plans on covering that material tbh)

Glinda made several questionable decisions that can be (and have been) debated, but she is still very unambiguously a victim. Her position in the Wizard's regime was foisted upon her. There are things we can discuss, but I find that many folks need reminding that Glinda would undoubtedly have been disposed of (or worse) if she failed to make herself useful. I mean hell: she wasn't even supposed to meet the Wizard in the first place — she was only there because of Elphie. If she'd tried to resist, it would have immediately gotten her labeled the Witch's accomplice. As soon as she'd chosen not to get on the broom, her fate was out of her hands, and all available options were varying degrees of horrible.

That's not the case with Fiyero. He went to the Wizard all on his own; no one ever cornered or forced him into it. Thinking Animals are people, and having a crush on Elphaba, simply did not stop him from carrying out the regime's orders — for years. It's not clear exactly how long he's been captain at the start of Act II, but the clear implication is that he's been a soldier for most of the time skip. I've seen Fiyeraba accounts with headcanons about him acting as a double agent, secretly doing stuff to help Animals — and that's a great idea, it would indeed serve to make a lot of his actions way more palatable — but until we actually get to SEE some of that (maybe they'll add it for the movie version of Act II; we'll have to see), there is nothing in the story to suggest that. He certainly didn't do a damn thing for all those Animals who were enslaved and caged in the Wizard's palace — and we don't see a single other Animal outside of there in Act II, so as far as we know Fiyero has participated over those years in the near-total removal of Animals from Ozian society. In the name of "finding Elphaba". Not fighting for her cause. Just finding HER. For HIMSELF.

It's fine to have a ship you like, obviously — and there is genuinely a lot to like about Fiyeraba, I don't dislike the idea of them as a couple or as friends — but come on guys: please stop those out there idealizing Fiyero as somehow a clear "morally-superior" alternative to Glinda, lol. The dude had power, access, and opportunities, for years, that he could have wielded in any number of really selfless, revolutionary ways. He didn't. And I propose (apparently controversially): he simply didn't want to. And that — at the end of the day — is (much as some would like to deny it) true to his character. He always WANTED to be self-absorbed and shallow, and all his actions are consistent with that. Elphaba saw depth and discontentment in him, yes: but (and I cannot stress this enough) when given the chance, he channeled that in the wrong direction. He didn't confront that and become a better person — for the most part he just displaced and projected it onto Elphaba as an object of obsession, and put on an even thicker pretense than before.

All his actions — regardless of the complexity he has deep down — are those of a man who never gives one fuck about anything or anyone, except (kinda sorta) Elphaba. But even then: at no time does the care he has for her seem to extend to caring about any of her wants or needs outside of sexual validation from him, or how she might feel about his actions, or indeed the impacts of those actions upon her, her cause, or anyone or anything else. I don't think it should be all that controversial to say: he doesn't think through the wider repercussions of anything he does — thoughtlessness is just one of his core character traits. He doesn't think ahead or see meaning in anything outside of what can temporarily excite him, in the moment. I think people place a little too much weight on Elphaba clocking him with regard to his internal pain, and seem to expect (understandably of course) that she is not only right, but moreover that he will grow from that in a positive direction, based on her influence.

But he doesn't. If anything, we get a surprising inverse: he pretty much proves her wrong. Not to say he didn't have hidden depth and all that, like she said: but his hypothetical heart of gold proves not to really amount to much in practice. He doesn't grow out of his shallowness and his self-centeredness: he grows into it in a way that he hadn't quite yet in school. Where once he was only masking an internal listlessness, after he's been cracked open by Elphaba he decides to be genuinely self-absorbed and deeply shallow, not just coasting by. He performs in new ways — as a soldier, eventually as a "fiancé", etc. — but by Act II we meet a Fiyero who has staked the last remaining shred of humanity in him on the vain pursuit of the only object of his desire that has ever been unavailable to him, and firmly chosen to say to hell with everyone and everything else.

When put to the test, Fiyero sacrifices Glinda, the Animals, and all else that Elphaba actually cared about, to pursue his own unresolved crush from college. Mostly to get in her pants, really — as harsh as I'm sure that sounds. But let me be frank: that is literally all he ever accomplishes in the show. He gives her dick one time, and one of his castles, and that's it. That's the culmination of his years trying to find her — years in which he actively worked as one of the stormtroopers (or even the one commanding them) committing untold crimes against Animalkind (who, again, it seems have been all but erased from Oz by Act II): y'know, the very crimes Elphaba sacrificed her life to try and stop????? He spent the most important time of his life — of his own free will — being a fascist soldier, but he "did it for her" somehow, so according to some, it's perfectly fine. Heroic, even. Yikes??

But let's make something very clear (since my original version of this post caught a lot of flak, including slurs and other rudeness):

I like Fiyero. I find his role extremely interesting (I could do a whole dissertation on him, but I'm especially a fan of the way his proving Elphaba's assessment of him wrong presents a fascinating parallel and contrast with Glinda, which I think is lost on a lot of people). But PLEASE stop with all the misguided Glinda slander and idealization of Fiyero. By all means, thirst! But don't give me all this bullshit about him deserving Elphaba more, or being super deep, or being really principled or noble or whatever else. He does have layers, and quite intriguing ones, but his insides are straw — he isn't meant to have some deep, overwrought emotional core or motivations; he has passions that he acts upon when given the chance. That's it. And that's fine. Actually kind of refreshing in a story rooted in simple children's fantasy but rife with intensely complicated personalities. Fiyero makes it his mission to represent denial of depth and embrace of raw, spontaneous desire — and I for one love that, and wish others appreciated it.

And in all seriousness, shipping wars aside: by the end of the story, it's Glinda who is ultimately vindicated, and has — for all her faults — made the necessary choices to fulfill Elphaba's wishes, bring down the regime, etc. And all that despite herself. She's miserable: not just because of the mistakes she made, but because of her correct moves as well. Fiyero is simply not — and could never be — that person. And that's okay! Like I said: I am not anti-Fiyero. Fiyero's willingness to throw it all away for the sake of sheer, overriding passion is a huge part of what people like about him, of course — and it's an obvious factor in the attraction between him and Elphaba, because she has her own flavor of that impulse as well — but I'd actually argue that it's not romantic, it's his fatal flaw. And thematically that's fantastic! But I just don't believe that it somehow means he "deserves Elphaba more" because he "gave up his life for her" or whatever. In part because NOBODY truly "deserves" Elphie tbh, not 100% (and I question anybody who claims otherwise), but ultimately because I don't accept the idea that his fleeting acts of passion make up for all the shit leading up to them (or even proceeding after them tbh). At least Glinda managed to do what Elphaba always wanted in the end — but I would die on this hill even if Gelphie didn't exist.

You don't have to agree with my analysis of Fiyero and his choices, relationships, etc. — that's fine. What isn't fine is trying to portray Glinda as some kind of spineless traitor whore for the Wizard and Fiyero as a conscientious hero who earned Elphie through self-sacrifice. That's just not the story that was written. It's WAY messier and more interesting than that.

[artbyblastweave]

I was wondering if youd read Hench yet.

I feel like the premise and the start were solid, and the main character's framing of superheroes through a strict environment cost-benefit analysis was interesting.

But it feels weird that in it's criticism of heroes it just sorta...gave villains a pass. Plus the incredibly loose world building, which early on was a strength in establishing the "you know how this works", vibe, but as the book progresses and the plot hinges increasingly on old interpersonal drama, it's suddenly a big gaping hole.

These are my broad criticisms of it, yeah.

Full disclosure- this is the book I was vagueing about a couple months ago, the one where I got annoyed because the back cover copy was pulling the "no ethical consumption under capitalism" card in relation to working as a henchman, in a way I found disingenuous given that many supervillains are on the face of it much, much worse for the world than the average tech start-up- particularly the kind of supervillain with a staff. But I also thought it would be disingenuous to bitch a book out purely on the grounds of its back-cover marketing department copy, so I bought it and read it. And unfortunately the final roundup on that tension appears to be that villains aren't that bad, are they? Maybe even kinda girlboss even!

Bulleted list under the cut!

The opening is strong, and gave me high hopes, specifically because of how it seemed to be aware of these tensions. Anna, our protagonist, opens as a temp in the employ of a sleazy c-list supervillain who's performative in his interest in his staff's wellbeing but doesn't hesitate to put his interns and temps in the meat-grinder for a leg-up; even a decisive loss to an A-list hero is a way to climb the ladder if you're a C-list villain. On the other side you've got superheroes who are horrifyingly cavalier with the lives of anyone they've deemed to be "on the other side." The protagonist is framed collateral damage in the grand idiot melodrama between two sides that don't give a shit about the lives of the little people in distinct but interlocking ways, and that's pretty compelling- particularly because at this point we're still coloring within the lines of the typical genre paradigm! That mutual self-centered apathy, the ways in which people get pigeonholed into specific roles in the melodrama that define and dehumanize them, drove seven seasons of The Venture Brothers, and now we get the tragicomic spin on that dynamic, we get a story told from the perspective of one of the henchmen or random civilians who get callously offed as part of a sight gag about how awful all of these people are!

That's not where it goes, though. @st-just has a pretty great writeup where they point out that for a story driven by the premise of heroes that cause immense collateral damage and use their institutional influence to dodge the consequences, the story is oddly incurious about the level of damage that Leviathan's enormous criminal organization does in the course of its operations; how many people have died because of all those superweapons he's handing out to lower-level villains? It's all oddly bloodless, and it feels like it keeps pulling back at the last second from the protagonist truly suffering moral injury- or from acknowledging that moral injury. Given how much of her plan involves waging psychological warfare on heroes until they snap publicly, there's a bit of an eric-andre-who-would-do-this vibe coming from then pinning that collateral purely on the heroes. I never got a good read on how self-aware the story is about the fact that Anna very, very quickly becomes attached to real tangible power in a way that makes her underdog framing feel extremely hollow; how quickly she becomes like her former boss, arraigning henchmen in the line of fire for the sake of the Grand Plan. One of those stories where it keeps gesturing but I can't tell the extent to which it intends to commit with a sequel.

The worldbuilding, as you mentioned, is an issue, because there's a failure to clarify quickly enough the larger systems that incentivize the heroes and villains- in fact, it often feels like the characters are operating from within different incentive systems, from different settings. The early sections of the book read like a "Silver-Age-taken-seriously" situation, similar to The Venture Brothers- the casual levels of temp-agency integration, card-carrying supervillain-as-tech-start-up boss, and of course, the myopic violence of free-agent cowboy cop vigilantes-slash-celebrities who never get called to account for it. Halfway through there's a pivot and now there's a Draft, capital-D, and it turns out that this has actually been a superhuman registration setting the whole time? "Supervillains" are actually just any superhumans who don't toe the line? "Superheroes" are screened for in middle schools and separated from their families? That's, uh, not completely incompatible with the aforementioned dynamic but it's a bit of a kludge! There are beats that are really great- Quantum relocating from New Zealand for a chance to partner with Supercollider only to end up subordinated for sexist-marketing reasons, the fucked nuclear family shit going on with Flamethrower and his kids and with the Ocean Four- that imply a level of individual career discretion on the part of the heroes that you'd need to do some work to square with whatever pressures are being exerted by the higher powers. It's actually pretty important who's calling the shots here and to what extent! If the climax is predicated on wanting to overthrow the system you need to make that system consistently visible and legible through the rest of the book!

As you mentioned, the book also pivots into there being a deep interpersonal drama that propels the back half; Leviathan turning out to actually be a former superhero who was dramatically wronged in a morally clear-cut way by Supercollider, who murdered his mentor for inside-baseball cape politics reasons and had this covered up. I've got really mixed feelings on this, because although the seeds of something fascinating are here it feels like one of the ways in which the book is hedging itself. Supercollider's callous but genre-standard disregard for hench lives isn't grounds enough to condemn him, no, he also has to have committed some off-duty murders as well, and he's a shitty boyfriend on top of that, he's a supervillain dressed like a superhero. We get Leviathan's justified grievance, and spectacular violence enacted on agents of an obviously evil system, but no up-close-and-personal villainy- he's functionally a hero with a villainous aesthetic (and a smattering of anecdotes about awful shit that he's done, but the story isn't interested in really making us feel it in the way that it is with Supercollider.) There's a beat that I really liked, where Quantum tells Anna that their respective villainous and heroic bosses care far more about beating each other than they do about the women in their lives or anyone else working under them. I think it was a grave misstep that this turned out to not be where the book went; making it so that there actually is a clear-cut good guy and bad guy in the Leviathan/Supercollider conflict, that they're fighting over something that matters, pushes the entire story dangerously close to what I term "Banal Hatswap" territory.

For more of a vibes-based criticism; and easily my most uncharitable; the entire story is written in a register of self-righteousness, and I have a hard time separating what's meant to be the biased viewpoint of the protagonist from what's meant to be the author Displaying The Correct Applause Lights for Twitter. You've got a protagonist who cracks a one-liner about supporting Penal Abolition.... who also puts out a hit on a guy who slowly dies horribly of sepsis as a result. A one-liner about a female superhero's "suspicious WASP" vibes, right before she emotionally manipulates said hero and arranges to have her kid kidnapped. "It's not my job to kinkshame, buuut," right before proceeding to leverage the embarrassing sexual proclivities of a superhero who's roundly characterized as boorish and misogynistic in conjunction with that. Bemoaning how Quantum, a strong heroine of color, is subordinated and put through the wringer by the patriarchal marketing machine, before acting as the major practical driver in the total collapse of said heroine's life. (This one is the one the protag displays the most self-awareness about, which might be related to the subtext that said superheroine is a potential love-interest.) Grandstanding about and predicating the whole plot on how all human life is valuable and villains don't deserve to receive life-changing brutality.... before being party to Quantum's graphically-detailed levels of payback against her shitty ex Supercollider, I mean we're talking like arc 14 Vicky Dallon levels of body horror and violation here, in borderline pornographic detail. All of this feels like either a very clever reproduction of how the very online know how to say all the right things to launder the fact that they constantly do all the wrong ones.... or it's just. an unreconstructed example of the thing. I can't tell, but the back-and-forth bothers me a lot. It's a situation where it becomes super fucking obvious how much Worm benefited from constant alternate-POV interludes; getting any of this from the head of someone other than Anna would go a long way for me.

Ultimately the book heavily depends on my sympathy for overeducated, temporarily embarrassed white collar computer touchers who throw in with evil worldwrecking conglomerates in exchange for dental. Unfortunately I think we all just axiomatically have it coming and superheroes would ideally pulverize way more of us so there's a level on which I was lost from the word go

Now, for the sake of a balanced assessment I'm going to go over a bunch of the ideas in the book that I did think worked really well:

As mentioned, the opening is extremely strong; the nightmare existence of living paycheck to paycheck as a temp, juiced up by the genre-elements, the slice-of-life hardscrabble existence of a woman at the bottom of the economic totem pole constantly having her attempts at a life worth living blown up by her proximity to this nonsense. Having a date break down because you have to drive your maimed henchman friend to the ER is a fucking amazing beat. Unfortunately the narrative moves away from this low-level approach very quickly, because a lot of what's going on with this thing is that it's a specific strain of power fantasy- a significantly-more-competently-executed version of a kind of villain-falls-for-his-hardworking-assistant Wattpad romance. That's not a pejorative or a criticism, just a kind of power fantasy that requires an end-of-act-one escape from the nightmarish mundanity in order to function. But I like the nightmarish mundanity! Bring back the nightmarish mundanity

The book has some great beats about the intersection of superheroics and women's issues. In a nod to the plight of superheroines from the silver-age and earlier, Quantum Entanglement is a superheroine with reality-warping levels of firepower who's constantly forced to downplay her own presence and individuality in order to help juice up the brand of her male partner Supercollider; in the climax it's revealed that this extended to subtly using telekinesis to create the false impression he's capable of independent flight, which is, implicitly, this settings version of Superman's transition to flight from really big jumps. There's a tendency for superheroines to get big power-bumps in conjunction with an arc about succumbing to a very gendered insanity- Malice and Avengers Disassembled being two prominent examples I can think of- and Quantum's eventual break from the monstrous Supercollider feels like commentary on this. In another one-and-done beat you have the heroine Abyssal, whose career is on the verge of being derailed by her third pregnancy; the catch is that she's a member of what's implied to be a family team (think New Wave or the FF) and her pregnancies are laced through with expectations and hopes that the kids will exhibit powers and be able to pad out the roster. By the end of the book she's mentioned to have been permanently benched, and another member of her team is killed "on-screen-" but that's alright! We've got her three kids waiting in the wings! A deeply grim superheroic spin on a very real kind of patriarchal pressure to set your own career aside to perpetuate your family. Compellingly fucked in all the worst ways.

There's a one-off beat about a nursing home for retired superheroes who are having difficulty controlling their powers in their old age, and it's portrayed as a fucking warzone; dementia-ridden psychics and pyrokinetics constantly inadvertently chewing through the staff and causing gigantic disasters. I think the age-based incontinence of superpeople- and the damage they can cause through no fault of their own- is a really underexplored area for superhero deconstructions, one adjacent to a lot of real-life problems faced by caregivers, and often problems that have no good answers. Near and dear to my heart, this particular problem.

The character of Supercollider is compelling down many of the same lines that Homelander is compelling; a "Superman" figure constructed by marketing-department fiat, with no identity of his own, difficult for the characters to sincerely hate in the end simply because it's impossible to determine where the marketing copy indoctrination stops and the hollow shell of a human begins, Surrounded by a meticulously constructed, rotating "Bat Family" extended cast that are his only semblance of human connection despite how immensely distant he is from them in every way that matters; the designated love interest with whom he's going through the motions, an utterly superfluous sidekick he's implied to be grotesquely co-dependent with to the point that his efforts to keep him safe in the field is a major driver of the collateral damage he does. Most of this we get third hand as Anna is mincing his support-system from the outside in, but the implied inside baseball is genuinely gloriously fucked, and I'd love to have seen some of it go down from the inside.

Anyway, 2.5 out of 5. Good ideas and character concepts that desperately needed more room to breathe, fun worldbuilding beats that desperately needed fleshing out to give those ideas and character concepts that room. Genuinely, this should have been a 1.7 million word web serial.

[raven-at-the-writing-desk]

Hi Miss Raven! I really liked your answer and I hope you don't mind me passing by add some of my thoughts about the previous question you answered 🙃

When I think about a fem!Yuu and the questions of whether she would be treated differently or not by the guys, I actually think it's more about the personality of the said fem!Yuu then her gender (like her gender is just a slight addition) 🤔

If she is strong and independent like Yuuka, or even a troublesome one, NRC students are more likely to see her as someone they are willing to fight and treat her as a rival, but if the said fem!Yuu is more on the nervous, shy, or weak (you name it) side; the less the guys would actually fight with her, the more they would be slightly lenient, giving that she fit the "fairer sex" thing that boys usually grow up with in real life where it seems to be the case in Twisted Wonderland too, or at least with the human population by returning to Epel's dialogue with Vil in book 5 and Ace vignette in the ghost bride event.

My conclusion is it's depending on the personality of fem!Yuu and how she interact with others rather then she being a girl, but that's just my thoughts on that matter.

[Referencing this post!]

I think that's a fair point to make! I definitely feel like Yuu's personality would have a larger and more noticeable impact than gender identity on how the NRC students react to them. If we take a look at the manga and light novel Yuus thus far, we can see this in action.

Yuuken (a man) and Yuuka (a woman) are both more stoic and "cool" characters (with Yuuken being more blunt/straight-faced and Yuuka being more passionate and ready to scrap), so the main cast doesn't really react all that differently to them. Yuuta, meanwhile, is much more friendly and "soft" from his introduction. However, he's not to be underestimated! He has a very stern side to him as well, which comes out when food's not being properly appreciated. In this case, Yuuta is an amicable guy, but amicability doesn't automatically equate to weakness. It's his skills and personality that alter a few of his interactions with the main cast--for example, Yuuta is mad at Grim for rushing to class while eating instead of sitting down to enjoy his breakfast. Additionally, Yuuta is able to convince Leona to let him stay the night by offering up his culinary talents rather than beating up Savanaclaw mobs (which occurs in the game).

But!! I want to stress that I don't believe that a nervous, shy, or weak-willed Yuu would necessarily garner more leniency or kindness overall. In the case with Yuuta, Leona still required that he earn his keep somehow. Leona wasn't nicer to him at all. I'd also like to point out that Yuuya, our Yuu from the light novel adaptation, is very much the nervous, shy, and weak-willed Yuu that was described--and arguably many of the characters are meaner to them than any of the manga Yuus or the game!Yuu have been thus far. Ace definitely gets a lot more cruel jabs in. Even Yuuya's initial meeting with Malleus comes across as a lot more impersonal. (This could also be the result of the light novel not being limited on pages or engine limitations though!)

Realistically speaking, I can see other NRC students trying to take advantage of someone with a "weak" personality like Yuuya, or looking down on them because they're not able to stand up for themselves. They become an easy target for bullying. Again, less of a gender thing and more of a personality thing!

[causticsodaa]

Sakura is an unintentional trigger for Togame’s development, but not the sole cause

In fact, it’s mainly Togame himself who inadvertently kickstarts his own change.

During the beginning of their fight, Sakura doesn’t make much of an effort to understand Togame (effectively disregarding Ume’s advice); to him, Togame is just a low-life loser who likes to pick on other people for the sake of it.

But when Togame says these particular words, it awakens something in Sakura—it’s stricken his nerves, and it reminds him all too much of his past. Sakura doesn’t want to be alone again, not when he’s found a place with the strong.

Because of this, Sakura starts to project his own personal feelings onto Togame. This will be a recurring theme throughout their fight.

Alongside the personal tangent, Sakura also agrees with Togame. Although, I speculate that Togame is just parroting Choji’s own beliefs on power (ie. strength = freedom, power solidarity and weak = shackled, useless, alone), and Sakura and Choji already share many parallels.

Sakura then proceeds to insult Shishitoren’s principles, criticizing Togame’s hypocrisy as well;

Which then leads to Togame snapping and saying this:

And Togame’s right. Sakura is an outsider; he knows nothing about Shishitoren, nor their background or it’s inner workings. Of course he’d get mad at the ‘cocky brat’ he’s facing is spewing things he doesn’t know, not when Togame cherished Shishitoren so much.

However, the fact that Sakura shares his own perspective as an outsider manages to work in Togame’s favor later on. Particularly within the next moment:

Before Sakura’s claim, Togame had no idea about Arima, Kanuma and Saruwatari picking on Sasaki, which caused Furin to get involved in the first place. Although Shishitoren was hacving internal problems, externalizing weakness (as bullying is commonly attributed to) on outsiders surely wouldn’t abide well with Shishitoren’s principles.

The next following moments where Togame beats Arima and Kanuma recontextualizes his character for both the audience and Sakura.

Togame showing slivers of compassion behind his intimidating exterior is further shown with how he approaches Sakura after this.

Even though Togame had brutually beaten one of his own, the intent behind it is much more understandable this time. Compared to when he hit Saruwatari during Shishitoren and Furin’s confrontation, there is much more context and reason for his ‘cruelty’, and his entire demeanor changes. He’s drawn in a more sympathetic light as well, having a much more ‘softer’ (as compared to his terrifying glares before) expression on his face while extending his arms out to Sakura—even going as far to apologize to Sakura when he’s done nothing but exchange aggressive quips with him up to that point.

Sakura is, understandably, confused by this. Because how could such a scummy guy switch up this quickly?

This prompts him to ask this question when he realizes that Togame isn’t fighting as earnestly as before, with the intent of wanting to understand him this time. Sakura clearly sees the change in him here.

But Togame doesn’t answer his question head on. In fact, he asks himself the same question.

By this point of time, the audience is shown Choji and Togame’s backstory, which recontextualizes Togames character COMPLETELY.

Every moment we’ve seen of him finally has some sort of substance. All he wants to do is protect Choji and Shishitoren, even if he has to play the bad guy for their sake.

Togame deeply treasures Choji, and he is easily influenced by him (given the power explanation he told Sakura earlier). He would do anything for him, because he was the one who has given Togame a place to belong when he had barely anyone in the past.

His cruel front is even shown with his design. Togame braids his hair which shows how he’s tied to Shishitoren. He also wears sunglasses to show how blind he is to how wrong Choji’s actions truly are (which is ironic, because sunglasses are meant to protect you from the sun). Sure, he knows that it’s all wrong, but his care and love for Choji as well as his desire to protect Shishitoren overturns his gut feeling—so he decides to do the dirty work for Choji, enabling him.

Because the sun must be loved by everybody, right? Togame is his second in command, he can’t afford to let himself be burned by Choji, much less have to leave the family he’s grown to love so much. He’s too in deep into the façade he’s had to put up now; he can’t stop even though its wrong—not until Sakura comes into the picture and makes him truly realize this, of course. (I’m just realizing that part this sounds too biased, but I want to emphasize how important Choji is to Togame in this section only because I cant fit it anywhere else please believe me)

Choji is the one person that has had the biggest impact on Togame in the long-term. Everything that Togame has done was for Choji.

But back to Sakura: he too impacts Togame, though on a more smaller scale. He is the catalyst that causes Togame to self-reflect; because it was him who felt so uneasy about Shishitoren’s changes.

Togame comes to this realization himself: Shsihitoren isn’t a bully club. Each of it’s members and the group as a whole has its own morals.

Yet, Sakura continues to retaliate.

Once again, Sakura is projecting his own personal feelings here. Though he addresses Togame’s true character and his faults, he immediately tries to hold Togame to his own standards (much like Suo does with his opponents): he needs to be ‘cool’, so Sakura would want to fight him. He’s indirectly telling Togame to not be a lowlife.

Togame calls Sakura selfish at that, which is an understandable sentiment because it’s Sakura’s own feelings, but he does end up following through his request during Noroshi, not only for Sakura, but for himself too.

Sakura continues to project his own personal feelings. At this point, his dialogue doesn’t have much to do with Togame—it’s about Sakura’s own beliefs now.

And it’s with an outsiders perspective that Togame properly realizes the errors of his ways.

He decides to take Sakura seriously, but ultimately lets him win at the end. Although Sakura technically didn’t win due to Togame’s concession, his views have won over Togame’s own; which is why he thanks Sakura at the end, despite the latter not directly trying to help him see the error of his ways, (unlike Ume who knew Choji prior and intentionally helped him realize his wrongdoings during their fight) going on personal tangents throughout their battle instead.

TLDR; Togame’s development during Shishitoren is mainly achieved by his own self-reflection. Sakura enables him to change himself, though indirectly and not with the intent of helping Togame as he is unaware of Shishitoren’s background and his need to protect Choji.

I wish I could’ve made this post longer as I believe there is much more to be said for Togame as a character and his relationships with Choji/Sakura/Shishitoren, but Tumblr won't let me embed any more images. Sigh.

[meglosthegreat]

"It was fun, but it got a little boring by the end" is perhaps the most common review of Veilguard's combat that I've seen. No one seems to have strong opinions about it, overall. As far as things to have beef with this game over, it doesn't even make the shortlist, really. I mean, it was fine.

But hell, I'm not above being petty, especially when it comes to this game. So amidst all the other things wrong with this game, here's my hot take: Bioware doesn't understand RPG combat, and why it's useful in, you know, RPGs, as they ostensibly claim to make.

This didn't start with Veilguard, though Veilguard is obviously the subject of this post. It was apparent since before DAI that they were gravitating towards action combat, and I had a lot of problems with Inquisition's system at the time. But Veilguard took it even further, doubling down on their pivot away from RPG mechanics. And, well, I don't think a proper RPG system could've saved this game. But it could've given the game something it desperately lacks - replayability.

RPGs are long games, are driven by the premise that most players will not follow the exact same path towards the end, and above all, are designed to be played in as many ways as possible. This is why character classes exist; why there are multiple weapons to choose from, and why there are more party members to pick from than can fit in your party at once. This works when you consider the other hallmarks of RPGs: different story paths, dialogue choices, and romance options. Variation outside of combat compliments variation within it, and this makes a good RPG something you can play several times and have a completely different experience each time.

And more than that, the mechanics of an RPG compliment a game that could take anywhere from 80-100 hours to complete. You NEED that level of choice within the game mechanics to get you through that long a game, and Veilguard's problem is that it has the length of an RPG, but the combat system of your average 30-40 hour action game.

Of course, there are excellent action games out there that are also up in the 100-hour range, but what these games do that Veilguard did not, is put the majority of focus on their combat systems. Elden Ring is probably the best example of this, but of course we wouldn't want a Dragon Age that's like Elden Ring, really - Dragon Age needs to have more going for it than just combat. And if you can't build your whole game around its combat system, then you need something that has the longevity to sustain a 100-hour runtime.

Everyone bemoaning the lack of direct companion control is absolutely correct - their lack of damage output and usefulness compared to the player renders them basically meaningless in combat. But what this also does is make any kind of customization of their abilities or their gear next to pointless. Even if you could replay this game and build them differently - which you can't, let's be clear - doing so would not make a single iota of difference in combat.

And Rook themselves - well, consensus is that the game starts to get boring about 40 hours in. That's roughly the place where you've gotten enough skill points to specialize in one thing, and though, sure, you could theoretically refund all your points and try something else, by that time you've gotten enough points to acquire all the skills in the general tree anyway. It doesn't help that the gear system is such that whichever items you happen to get early will probably be the ones you end up sticking with. It definitely doesn't help that the enemies in this game severely lack variation, and once you've fought one dragon, you've fought them all.

You know what would have helped? Giving people multiple ways to approach combat. Giving us enemies that require a different approach. Giving us companions that you can build out in interesting ways. Giving us, in short, a reason to play this game again. Because if you're going to create an 80-100 hour game that has very little else going on mechanically, then the very least you can do is make sure your combat is actually fun for the full 100 hours.

[rockybloo]

im sure youve answered this SOMEWHERE but how has jack and nana changed personality wise over the years? specifically i was wondering if nana was always this (head?)strong in your first iterations of her, or if it came naturally over time of you figuring out her character!

I know I've answered for Jack and Nana AGES ago, and a more recent answer for Jack here BUT I don't think I've ever truly gone in depth for Nana's development (which is crazy because she was the one out of the two who changed the most).

This is gonna be a WEE bit long so I'mma put my Nana blabbering under cut (bc she is my fav OC right next to her boyfriend)

SO THE VERY FIRST NANA was not head strong at all. She wasn't even a Lupine or had any special powers, save for having a Marchen like everyone else. But since she wasn't part of the main team back when I made her, you rarely saw it in action since she wasn't a fighter.

Girl was small, timid, had a crush on Jack, and...that was really it. That was her whole personality. Which was a big issue because I realized "Oh wow this fuckin' sucks" since there just wasn't any creative chemistry going on. It was just another "Male protagonist and his love interest". No seasoning or side dishes. Plain as hell.

And then I one day realized it'd be fun to make her part Lupine because I loved when people twisted Little Red Riding Hood and made her a wolf.

At this point, she was starting to get more bite to her (no pun intended) because there was the element of her being half human and half Lupine and how that impacted her life and relation to the world around her. She wasn't shy or timid anymore, but she was def quiet. More assertive than her first iteration but not fully at her "Fuck around and find out" present self.

I can't really remember the exact point in time I decided I wanted to give her her "Damn being a Damsel" mindset but I think it was when I was realizing I really liked Cats Don't Dance and Hercules and how much I still very much enjoy Sawyer and Meg's personalities in both films that I started to lean more into Nana being more independent. Plus Danny and Herc have some influence on Jack so it just made sense to take inspiration.

Of course, I didn't want to make her a complete copy and paste of the two so I sprinkled in some of my own experiences as an introvert. I think this was the secret ingredient to fully making her the Nana we know now. She got more "mean", though it was really her just not having time for anybody's foolishness, not even Jack's (initially). Boy had to work hard to get where he is now.

I would def say that Nana has the most complex personality out of all my OCs because she has so many different sides she shows and they all depend on who she is around and what the situation is.

She can be an utter introvert to the point of avoiding interactions, to being a merciless and relentless opponent when in battle, to a mildly awkward (bc she is new to this friend thing) yet endearing and loyal friend, to a mischief maker and enabler when hanging out with Ashe, to the flirt and seductress when alone with Jack because she loves hearing how quick his hear thumps and how cute his stuttering is.

She can also be a goofball. Half of the goofiness is from her regaining it from her childhood when her dad was still alive, and the other half is from her boyfriend rubbing off on her.

BUT YEAH

Nana's present day personality has been a 10 year development basically. VERY HAPPY with where it is now because it adds so much more to Beanstalked than her original "Shy village girl" schtick.

[chaifootsteps]

i should've mentioned it when we were talking about tuca and bertie and them doing things right, but the arc bertie goes through with her SA and reclaiming it thru taboo fantasies is very similar to what ive been through, right down to a therapist opening me up to this new side of sexuality, and while it all happened to me years prior to the arc happening in the show, it broke me out of my anti shipper mentality that gave me this sense of justice and rigid rightness in what i was doing.

just thought now would be a good time to bring it up too because of the allegations against you and how what happened to max is basically the same thing that's happened to me. it's such an uncomfortable feeling to know someone who brought you into this world sees you like that, and having a fictional character similar to that person to self insert with in writing has helped far more then feeling disgusted with myself ever did or has, because i can stop anytime i want, or just get to a point where i move on completely from being able to gain anything from this personally. (which im leaning towards for now,) it's like bertie's therapist said, "because this time, you're in control."

i just wish antis could at least be more open to the idea that maybe, just maybe, shaming victims for coping this way isn't helpful, and that the lack of nuance implies shaming these uncontrollable fantasies (because you can't control your thoughts and like bertie's therapist said, "brains are weird!", although ive also heard the fear and arousal part of your brain is closely related which explains so many kinks to me tbh,) is the only form of healing and getting better, which it never will be. this kind of thing, of re-exploring your trauma thru fiction like this, definitely doesn't help certain people and that needs to be respected, but for anyone it does, they shouldn't just be written off as "normalizing their abuse", because im aware enough to keep this to myself, and to other people like me.

come talk to me about me "romanticizing" horrible things in fiction when you remember vivs shows have millions of views, and THATS why her writing like a fanfic author is bad - not because she inherently is one at heart. a large audience of adults should engage with these heavy topics, (and deserve to have them be written well, even if the stans swear they don't because nuh uh it's Da Best cuz mama viv made it,) not literal children. regardless of this unfortunate demographic that's naturally been formed and then unnaturally encouraged by the creator to line her pockets with their parents money, i think people have a moral obligation to tell a well written story about dark taboo subjects when they have such a large scale of production and connections like this, with some gray area in between, because theres some pieces of media that aren't as big as vivs creations or as small as fanfic writers (compared to other indie creations like video games or shows,) either, like mouthwash, or that one horror game with a sibling incest ending. that's what i mean when i said you aren't gonna make anyone want to fuck a lizard, but that vivs story's spread sentiment that would give 1970s victim blaming, "well, what was she wearing?" arguments a run for their money in how gross they are. i don't think max is gonna make anyone want to fuck their own dad either.

i hope this all makes sense! i think this is the most vulnerable ive ever been in your ask box. thank you for being someone who makes me feel strong enough to talk about this.

No, no, it makes perfect sense! Thanks for sharing your story, Anon...that was an incredibly vulnerable thing to talk about, and it couldn't have been easy.

I don't know if it's due to social media or what, but people have gotten really, really terrible at the concept of "I do my thing that works for me over here, you do your thing that works for you over there, and even though we don't understand each other, we mind our business about it." Like you said, it becomes a different conversation the more widespread and professional your piece of media is -- the same way that feeding 1,000 people a day is different than cooking for yourself -- but when we're talking about you and me and Max and all the randos on AO3? An appropriately tagged piece of work that makes a sharp distinction between fiction and reality is harmless.

What isn't harmless is telling someone that their intensely personal coping method is wrong and shameful and that they're a dangerous, evil person because it makes you uncomfortable, and that they're either a bad survivor or lying about being one.

Here's the scene from Tuca & Bertie, because it's so well done and always relevant.

[rei-ismyname]

Uncanny X-Men #9 Review

Graymalkin was raided and now the Uncanny team try to get back to normal, or at least what they were doing before Becca and Jubilee got snatched. It looks like Graymalkin is NOT done with them, however.

Larry Trask - not learning his lesson

The issue cold opens with Larry Trask on the sales floor with a former client. The 'Wolfpack' model sentinels are built from stray and unwanted dogs somehow - they're fully robotic with full (if glitchy) AI so I'm not sure if anything biological is left. It doesn't really matter, I suppose. He gives the man a demonstration on a volunteer and they tear the guy to pieces. Switching them off didn't work, they can just switch themselves back on. This isn't going to end well, but 'your eminence' wants four dozen units ASAP.

The Uncanny adults are sitting around a fire, clearly back at Haven. Can't say that seems like a responsible choice for so many reasons, not least because two of them were kidnapped nearby very recently. Logan brings up that the kids have secrets and that he doesn't trust them. Ransom overhears this but not the next part - that 'they don't trust themselves.' They're traumatized children, what do you want from them?

Rogue comes up with a mentor system for reasons, assigning Jubilee to Deathdream and Logan to Ransom. I think they should ask the kids what they want. The Uncanny team have done a pretty terrible job at mentoring, teaching, duty of care, etc, so far and they don't seem to be reflecting on that. They're going entirely off Logan's sense of smell. This doesn't especially feel like the issue after an event in terms of how the characters behave. Calico and Jubilee were jailed, they witnessed horrors and came under psychic attack. They witnessed their leader fight a friend over some really strong feelings. The reader gets a peek at Graymalkin, but these X-Men look suicidally passive.

We check in with the Outliers with a voiceover from Rogue, and most of the points she's raising seem like they could be solved with a conversation. Keeping them safe strikes me as priority number one, but it doesn't come up. 'We got to be the school' Rogue decides, which makes sense considering the only other school is too dangerous.

Logan, no shit, tells Rogue she makes a fine leader. Does she? Comes across as an informed attribute to me, or maybe Logan is joking. He says that 'Chuck and Scott would be proud' which is particularly jarring. Not because of greater history but the previous issues in this run. Rogue lampshades it, but without any follow up it feels like the book is just telling me to think less. Jubilee and Deathdream make friends, which is nice? In the abstract it is but we haven't learnt much about where either is at or what they want.

Jitter comes across Calico secretly practicing ballet and offers to be the partner she's never had. It's a sweet moment between just the two of them and we learn more about their dynamic. It seems like they don't actually know each other that well but they're learning more. Calico continues to be the most interesting Outlier, if for no other reason than we've learnt the most about her. She had an abusive upbringing and is slowly figuring out an identity away from family.

Jitter we know less about, but I think we're being shown she's into girls. Maybe. It would be easier to get a handle on that if we knew more about her I think.

Meanwhile, Ransom is outta here, and it seems Logan is trying to offer mentorship. He comes around pretty quickly with Logan telling him he is wanted here. I'd guess he can believe their home is a prison now seeing as he was there with you. Ransom's cousin is Roberto Da Costa AKA Sunspot - New Mutant, hero, and billionaire. That is unexpected and I'm not sure what to do with it tbh. I feel like The Outliers would be safer with him but who knows what's going on there?

Not sure who originated this idea (I assume Rogue) but the kids are going on a shopping trip with Logan and Jubilee. The Graymalkin scientists deploying the Wolfpack show why that might be a bad idea. Did they forget that Calico and Jubilee got kidnapped while out and about? It feels like they did and as such it feels like we've done this already. Very recently. Maybe it'll turn out better.

The two adults decide NOT to watch them and they immediately get attacked by The Wolfpack. Only Calico is holding her own and Deathdream is a liability here, as his powers do nothing to robots.

Even Warden Ellis thinks this is a bad idea, and Trask doesn't have a good explanation. This dynamic might mean something to you if you're reading Sentinels, but the outline is enough here I guess. Ellis can't control her subordinates who are siccing killer robots on children. Not that different to kidnapping, beating and imprisoning them but I guess you have to draw the line somewhere. Looks like we're not done with Ellis at all.

All but Deathdream managed to escape at least and seem to be working together pretty well. Ransom headbutting a metal dog seems like it would hurt him a lot and do little damage, but he seems fine. They even rescue some civilians. The fill-in artist is particularly noticeable with the close-up of Jitter's face here, and as much as I enjoy the regular artist the action looks decent.

We're left on a cliffhanger of the other Outliers rushing to see if Deathdream is okay, and he looks very dead, alas. His powers are vaguely defined, but I don't think this death is going to stick. Either way it's traumatizing as hell for the kids, hopefully a black eye for Graymalkin, but most of all it paints the X-Men as seriously unfit caretakers of Children. I suspect Deathdream will be fine and Logan/Jubilee will be the cavalry next issue, but it's really not a good look. If it was the first time there'd be some leeway but it's not - they really should have learnt from the kidnappings 3 issues ago. Maybe Rogue shouldn't polish that 'fine leader' trophy just yet.

This issue was entertaining enough if I don't think about it too hard. The characters themselves aren't seriously engaging with their mistakes or recent happenings and it really hurts the book's identity. I don't know what Uncanny X-Men is trying to do or say and here at issue #9 I don't think it does either. The beats are there - some conflict, some resolution, some action - but the connective tissue between issues is not. I think this is the book if you want some X-Men hits remixed but nothing more. That's okay, but it's bound to disappoint long-term invested readers. I think it's a shame that unambitious, but there's other books for that.

If you weren't sold before this, issue #9 won't change your mind. If you were enjoying it that'll probably continue.

[dadrielle]

I have to assume from context that this is about the glasses question, and with all due respect, I think this is deeply unfair. I really like your work, and I have also long suspected that a lot of the resentments that have built up within fandom come in part from the way everyone vague blogs instead of talking to each other, which is why I am responding to you directly. Sorry if this is an overstep.

I think the majority of people who are deep in fandom find the Fireside chats in general kind of disappointing because we want them to have more depth. I know you and I agree that the format is not super well suited to in depth character stuff, and obviously CR has not been using it as a vehicle for that; Marisha's was half about Stardew Valley, and many of the questions that are pre-selected by Dani or whomever else are not about the characters or even the campaigns. Plus the actors in the hot seat choosing to just read whatever question they can see while the chat moves at lightning speed means that some of the stuff that gets answered is just random chance. I also don't like it, but I think that's just baked in to it being a live Q & A. The interactive component is its main unique angle for better or worse.

I also think it's fair to look at the questions that get submitted and cringe as someone deeper in fandom—there were somewhere in the realm of 50 different questions about dice, stuff that has been answered before, etc. But I do think we need to remember that as frustrating as those are, some of that is due to the fact that not everyone is In Deep, you know? Most people who watch CR are not active in fandom. We're a tiny subsection. Live chats with actors very often draw casual fans who don't know that these things are redundant or uninteresting to other people. They are just excited to get to ask their favorite something! I find it maddening too, but it is what it is, and it's not new—con audience Q & As have always been the same.

But here are the facts about the glasses question specifically:

It was not the only question Cole submitted; he also submitted some deeper character questions.

It was submitted in the pre-stream phase and was pre-selected by Dani.

It is something Laura has referenced on stream and in 4sd multiple times before without coming to a resolution so it is not completely out of left field for Laura.

The glasses have become a weird lightning rod in fandom, with people assigning moral value to whether someone likes Imogen in glasses, as if liking the idea of glasses means that you infantilize Imogen.

To the above point, it was one of only a couple questions that some people, in a departure from the standard of decorum in the chat, decided to explicitly react to with thumbs down emojis.

I am not going to address the last two points here (though I think I am going to make a post about it generally) because I don't know your feelings about them and I don't want to ascribe the feelings or behaviors of others to you. I only bring it up because I think that they color the reactions people have to this question in particular quite a bit. I think there were many people, myself included, who enjoyed that question being asked not because they have strong feelings about the glasses fanon (I am deeply ambivalent), but because it felt nice to see it be treated as something lighthearted and fun, to be reminded that all the fanwank about it is really just insular and small.

So my main reason for making this post is the rest of it. I do not think it is fair to throw shade at Cole for asking that question. He asked other questions, deeper questions, which I know that you'd only be able to know if you looked at the question thread, but needs to be said because it is directly in opposition of what you said here about not caring about the characters or campaign. And Cole is also one of the people active in fandom who interacts with the discourse the least. He is not someone who is a diehard for any particular answer regarding the glasses; sometimes he draws her with them, sometimes he doesn't—this was clearly not about getting his favored fanon proven correct because he doesn't have one. Which again, you might not know! But that's part of the problem here—there is a lot of assumption of intent and character that is just both off the mark and really ungenerous. Cole is a genuinely nice guy who is getting all kinds of splash damage over a completely innocuous question and it honestly bothers me a lot. Saying that he must not care about the characters or the story because he asked that question, that it makes him or anyone else who enjoyed the question selfish, feels to me like offloading frustrations about the format on him and he does not deserve that. I get why Dani chose it as the final question; if you divorce it from the discourse, it's lighthearted, something Laura has actually been considering back and forth all campaign, and a bit tongue in cheek. It had an inside joke component of ribbing Laura about needing the teleprompter made larger. Ending on something heavy is not the usual strategy for talk segments, and without the drama hanging off it, it looks like a quick, cute send off.

I get being frustrated with what questions were asked and answered, I really do. I also desperately wish we got something juicier, even though I did ultimately enjoy the experience of watching, because Laura is very charming. But I suggest you consider that maybe taking that frustration out on other people who love the show, to say they are selfish and don't actually care about it, is unkind and disproportionate.

I shouldn't be surprised by the fireside chat being the state it was, seeing as I don't follow any CR themed blogs myself or really go into the tags because I find it frustrating but still, the bleed over of fanon is depressing and a lot of you are showing your asses in terms of how you don't actually gaf about the characters or the story the players have chosen to tell.

I love my au's, I love my headcanons, I love my not quite canon ships, but they're for me and the people who chose to enjoy them if they want to. and what makes creating those things more fulfilling is trying to really be true to the character it's about, otherwise just go play with OCs

this will be my last salty post on the matter (guess we'll see) but man, the timing? all of this crazy shit is going on, it is well established that the audience is frustrated with how little downtime we've had with these characters and getting to see those long rest bonds we got to enjoy with previous campaigns, 4SD is over, and that's what you wanna ask about? it's selfish, honestly.

[rorah]

The mentally stable Dimitri Fire emblem 3 hopes.

It surprises me that there's still ppl claiming so, but then I remember we're talking about 3h interpretations and I have to make peace with it.

But that doesn't stop me from venting a little bit in this little space I have lol. Actually, it dries me and makes me feel bad to bring this up because I will have to talk bad about Dedue, and I don't want to talk Bad about Dedue. He's a genuinely good boy. But "Human" nonetheless, which means Flaws. I like Felix too but he's become some sort of a clown that doesn't make me feel too bad. I like Felix tho, In a different way.

Mostly talking about these two because the take that "Dimitri has better support system" baffles me because, technically, these two are his support system in HopesVerse. The persons who Dimitri relays on and seek solace/advice/support. The rest doesn't really tackle any of his personal struggles (aside from the Mage!Mitri frustrated dream, but that's out of the bad equation in our 'mentally unwell' set of pixels, and Shez only has a glimpse). Contrary, to Houses verse where the whole blue lions cast knew about his shit, didn't know what to do, but didn't leave either.

I tackled this topic with other person on Twitter who was (or still is) on board with this take and the phrase they used was They contained him better, which of course I agree and remarked that was exactly the problem. Contain him is gonna be contra productive. I used a water dam analogy, where the structure of such dam is damaged, and the pressure of water keeps accumulating. Causing a foreseeable damage for the dam itself and the surroundings. You don't need to be a genius to understand it, you need experience or knowledge for mental ill topics tho.

I really don't want to extend so much on here because it's mostly just, rant format more than a proper analysis so I just want to point out these two things in their support conversations.

First, Dedue. Encourage him to keep on the vengeful path. Which we know was the final goal of Azure Moon and if you payed attention to 3 houses message. The whole Vengeful argument was something Bad, to keep it simple. Despite Dimitri actively looking for answers/guidance for something that, in a rational state he can see clearly like vengeance will consume his life (also Shez and Felix called out this behavior). Dedue answer only encourage him to keep on that path, because he would do that 💔. Presenting 2 oposite views is a great formula for confusion and disorientation. Now, Dedue's role is primary SUPPORT, not guidance nor orientation. He will support his shit no matter what, and we are quite aware of that if played Houses.

Second, Felix. Felix is a special case. He is smart but also an idiot lacks A LOT of soft skills to actually be of help. He's the only one who knows in this verse about Dimitri having a mental issue. In their A support to say the least, so they don't close or solve anything. What makes it more worrisome is the fact that Felix conceals the issue as a secret.

"So try to keep that whole "removing their heads" thing in check, yeah? We can just call it our little secret."

this extract here makes me feel so unwell 😭help

The whole burden falls over him and his lack of skills and wisdom on the matter will be too much for him later on. He at least, will be able to recognize that the problem is beyond of his capabilities and will look for help. Felix himself has his own issues and journey where he needs to learn. He's forced to get pass beyond some of his angry teen behavior but hasn't completely get over it.

There is a lot more to tackle, but that requires more work and time. What are the topics some of you think is important to cover around understanding the Hopes verse resolution? Dimitri's route? something? Do you think the route without Byleth is better? With that being said, I would like to delve deeper into character analysis, and the role each played for the Lords too. That also requires to talk about the Byleth and needs a whole analysis on their own, which requires time (which i don't have much lol) To end this vent, I would like to encourage people to do a little research for the terminology they're using like "Support System". Who makes it up and how it operates successfully. The fact that ppl saying "he has better support system" only because he didn't go feral on the run alone is not entirely valid. A reminder that people can feel alone with or without people around them. And containing the issue within doesn't solve any problem. At best, it's presented later. At worse, it gets worse.

[mrchoppedslefthand]

[SPOILERS] Homicipher Is Actually Romantic, Convince Me Otherwise [Analysis/Opinion] [SFW]

Word count: 3,332

Edit: 11/7/2024

[Feel free to skip to the last objective "Individual route discussion + what made it romantic" if you want to get straight to the point]

Homicipher is truthfully a romantic (or platonic) game. It is a game that has to be looked at from a different perspective when it comes to love/romance. A game where you have to take in consideration of the characters and the nature of their 'other world'. Today's post will discuss into what I believe made Homicipher an oddly, but romantic game, despite its shortcoming and abrupt ends.

⚠️[MAJOR LORE/CHARACTER ROUTE SPOILERS] ⚠️

Discussion Objectives:

Definition of Love & how it plays into Homicipher

The nature of the 'other world' and ghosts

Individual route discussion + what made it romantic (thoughts)

What Is Love & How Does It Play Into Homicipher?

Love has many layers of definition and associations. Maybe, that is why some may deem Homicipher to be "unromantic" and some disagree on that thought. It also varies based on the type of content/exposure you had consume in the category of love [whether romantic or platonic]. Socially, from a common standpoint, love is a strong attachment or affection for someone. Often from a social standpoint associated with dates, affection, and intimacy. However, love is always changing, since it is a social script on what its suppose to be, and changes as society progresses. Some notions stay the same but some begin to change (just like how language and certain concepts begin to change in the other world, a different society from our own). For the sake of a "true" definition of love. I will be using the definition offered by the Oxford Language Dictionary. So, what is love?

Love as a noun is...

"An intense feeling of deep affection"

"A great interest and pleasure in something"

"A person or thing that one loves"

Love as a verb is...

"Feel deep affection for (someone)"

"Like or enjoy very much"

Not long after its release there had been a fair number of comments/reviews criticizing Homicipher for its lack of romance. This claim is NOT entirely wrong. From the expectations of a "normal" Otome/dating sim it doesn't necessarily meet the requirements because of its lack of intimacy, affection and interest from a HUMAN/SOCIETAL perspective. We must remember that romance/love does not necessarily equate to kissing, hand holding, and intimacy especially considering that these are the HUMAN (societal) views on what romance/love is. A concept that had become lost in the 'other world'. So how can we call Homicipher romantic if we have to cross out the influence of our society? The answer is that we can't fully avoid it, HOWEVER, we must be open to a different perspective of what 'their' version of love is (platonic love/or romantic). No matter how lacking, dense, twisted and grotesque the moments we have spent with these ghosts are. In some shape and form it CAN equate itself to love (platonic/ or romantic). I think a lot of people forget that time itself can be equate to some complicated level of love. The fact you spend time with someone, and it develops to something further for worse or better, something that even love may not be able to name, is what this game demonstrates.

Homicipher has a consistent theme, the loss of truth, the acceptance of ignorance and the concept of eternity. Which shockingly is where the romance comes from. When we allow ourselves to rot in that world. When we ignore the exit and choose to stay, is where the romance comes through. Love is complicated. What can I say?

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

The Nature of the 'Other World' & Ghosts

Alot of the ghosts we encounter can be friendly, but also just as deadly. We hear it from almost all of the casts warning or discussing about how dangerous a lot of the ghosts (including themselves) roam in this world, and in different endings, succumb to this danger ourselves. The longer we stay in this world, we soon start to become no different. As we, a human, begin to slowly transform into a different entity. We begin to react more violently (though it can be argued that since our MC is a serial killer, she might have just been violent and cruel in general). When angered, or things start not to go her way, she gets filled with bloodlust and takes it out on who she's with. Killing is a common thing to do in this world, especially when experiencing anger, sadness and even boredom. The concept of death is a little complicated as they can easily regenerate themselves back to "life". As the game progresses, we learn that some of these ghosts cannot grasp certain concepts (such as love), remember their own name and self, and don't have exact words (sometimes none) for items.

When sometimes even confessing that you like some of the ghosts they question you, and state that they cannot understand you or that feeling (platonic/ or romantic). We are in a setting that is beyond the mortal realm, there aren't any exactly "ideal" dates in a place different from the moral realm... so you're going to be stuck in a scary place, having a scary "date".

However just because they cannot understand the concept of love, doesn't meant that they can't feel it. It is something that the body may still feel, and the mind not being able to put an identity to that feeling or even situation, since meanings and concepts get lost within this realm. The fact that we are allowed to spend an eternity in this realm, with our handsome casts of ghosts. Is oddly and sadly romantic. For Mr. Crawling it is his devotion and loyalty to you, it is how he worries and cares for you, it is his affection and attempts to soothe you. For Mr. Silvair it is his care for you (as research of course lol), your usefulness (which is why he is attracted to you), but even then, one of his endings he keeps you as a head, when you had become useless to him. For Mr. Gap he finds you intriguing, he wants to play and follow you around, always asking for parts of you with consent, loves to brag about himself to you. For Mr. Chopped it is his want to rely on you, to feel safe with you, to protect him, to spend time with him. For Mr. Hood it his willingness to help you for an eternity, to roam with you forever, keeping you away from danger. For Mr. Machete it is the fact you both spend an eternity searching for a home together, to suffer boredom together, to suffer within each other's presence. For Mr. Scarletella it is his obsession for you and his willingness to spend an eternity with you.

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Individual Routes + What Made Them Romantic

[Not in any particular order]

Mr. Crawling

If I had to rank who had the most "romantic" route overall, it would be Mr. Crawling. With the definition usage of love from the Oxford dictionary, verb and noun he checks all the list. Not only that, but we spend time with him the most out of all the other casts. He was the very first ghost we meet (briefly in the beginning) and got stuck with. We are like a baby bird imprinting on him because we saw him first and spent time with him the most, so of course we might feel the most attached to him compared to the others. As the game progresses Mr. Crawling doesn't fail to let us know that he cares for us and our safety warning us of the dangers that come and explaining how to navigate our way around danger. He expresses his worries when we disappeared. He seems to have some concept of love (platonic/ or romantic) as he admittedly tells us that he likes us and ask us if we like him. He expresses how he wants to follow and protect us. He also has so many cute scenes! Scenes where he pats our head, scenes where we lay together, chat a lot together. He is devoted and loyal to us, never harming us even once.

We even get a scene where he gets jealous when we called Mr. Chopped cute with the cat headband! So, he also makes an attempt to be cute too! We are always together with him, and that makes us BOTH happy. Although we don't have our traditional romantic dates like shopping, movie night. We get a bed scene and get to take him back home with us.

There are many types of romance. Platonic and romantic. You the reader/player is allowed to view it however you want. The game does not punish you for the lack of interactions with the casts. You just end up missing out on certain scenes/moments with them is all. However, for the sake of this post I will be making attempts to talk about the romantic aspect (but platonic romance can also be put into place).

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Silvair

lt's apparent that Mr. Silvair keeps us as research material and confines us in his lair. He is interested in our body, and also interested in returning our mind/intellect back to its original state. It is this interest in us that makes him "love" us. Does confinement and research count as love? Well...maybe not in terms of human definition but in the Mr. Silvair way, it's the closest thing you can get to romantic (or platonic). Afterall, the concept of love has become lost in this world.

I believe he still has some attachment to us, because in the ending A Head's Life, he still keeps you as a companion along with Mr. Chopped. He claims that you are no longer useful/capable but that it is okay, as long as danger is no longer here. When you choose to ask him why he did what he did and ask if he likes you, he tells you it was for research and that love is something he cannot understand. He also doesn't understand why you get so angry when he helped you return your intellect back. He still though has some sort of concept of empathy, because in his route when you choose to kill him and hide yourself away. He comes follow you and expresses that he's sorry and tells you a little about himself. He allows you free will, at this point, allowing you to leave him or stay with him.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Gap

Mr. Gap always wants a piece of us, literally. Why does he? Because it's just for fun. The most interaction we get with him is through the multiple crevices within this world and the short route he gets in chapter 4. He takes but sometimes may give. However, he doesn't fail to be thoughtful. It's hilarious how in chapter 4 when he offers us a crowbar in exchange for your heart, you can just smack him for it with no consequences. He also likes to brag about himself to you which honestly is a little cute. With his ending Return, we only have him left in the 'other world'. Our comfort lies with him, although he may be a little annoying, he is the only one we have left. We maybe have become a little codependent on him, but maybe he likes that?

God his annoyed/disgusted face is so hilarious, do it again Mr. Gap! He seems to stick around with us mainly just for funsies and being nosy, and honestly, he is so real for that. But it seems he likes to stay around with us at least. In the return end he is with us, and continues to stay lurking, perhaps watching over us until he is needed. Quite handy am I right? Haha.

He is depicted as quite the gentleman, but also just as fun and teasing. There are times where he does help you with no charge, such as barging into his hole (the face he makes in that scene is hilarious). Again, when presented with beating him for your crowbar, he gets a little upset but, honestly still helps you out. He probably thinks violence is funny which is why he constantly still teases you by asking to take away your body parts. It's just too fun!

Someone had brought up to my attention that Mr.Gap tends to ask for parts that can be easy to part with as we progress. Asking for our feet, legs, and fingers instead, when he seems to still clearly prefer the heart over the other parts. He adjusts his request when he realizes we won’t give our heart.

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Mr. Chopped

Mr. Chopped is just a head; how can he possibly be or have anything romantic? Well, not necessarily to the level of Mr. Crawling but, we get to have a few small moments with him and spend some time with him. Since he is just a head, he can't help but need to rely on others. Of course, he has to be selectively about it because falling in the wrong hands devastates him.

Mr. Chopped when he gets forced into playing with the deer child, he seems happy to see a familiar face and calls us out to help him. Our poor baby was in trouble!

His ending head hunt is tragically sad but also bittersweet. MC cares so much about Mr. Chopped that she spends an eternity as an entity searching for a lost head, searching for Mr. Chopped who she failed to rescue.

During his own special route Mr. Chopped does his best to help us, but there is only so much a head can do. To make up for his lack of body though, he seems to be more expressive with his mouth and emotions. We get to take him to get a haircut and wash his hair. This seems pretty date like to me. Although our time was abrupt and short with Mr. Chopped. It makes me happy that we get this small, cute scene with him, which makes him much more lovable.

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Mr. Hood

Mr. Hood protects you from harm, and also heeds your commands. He also carries you around. He means no harm and is there to guide. He cares for your safety and seems to dislike anything dangerous or threatening towards him and others that he protects.

At the end of his route, he states how often you get in danger and takes you with him, telling you that he must protect you since you asked him to (referring to an earlier scenario when you asked him to stay with you, when you reunited with Mr. Crawling and the others, but he leaves). So I would assume he would always be by your side now eternally staying together and protecting you from danger when needed. How cute! Some people are into that. But personally, for me Mr. Hood felt more like a father/brother to me. Maybe it was because he was always willing to guide us? But some people are into the brotherly/fatherly type of men, and hey I don't judge.

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Mr. Machete

At first, I did not see the appeal to Mr. Machete, he seemed like a ghost that killed for boredom and most of the time we just followed him around aimlessly...WELL, after playing his route and letting it soak in my brain. That is entirely the whole point of his character. He is a ghost that had become bored because he had too much time on his hands and continues to search for his home. He is our tsundere dummy macho ghost, and honestly, I love that about him. He could've killed us again like how he tried earlier, but after that first attempt, he reluctantly allows us to follow him. It's funny how much he runs away if the odds are against him, and when he mocks us it's even more hilarious. Mr. Machete likes us if we are strong opponent for him, he even expresses that he thinks we are fun and likes us when we defeat Mr. Hugeface on our own.

Not going to lie, I fell for Mr. Machete right here. We were low on blood, and he just slices his hand, FEEDING us HIS BLOOD. Like OMG that was so hot, he opens our mouth forceful, and we drink his blood. He somewhat cares about us, to be doing all of that for us. After that we get a timed choice to stall or follow him. When you choose to stall he pauses with you and asks if you're okay and to catch up with him. For someone who had been reluctant and annoyed at us for following him, took a moment of his time to wait for you. He WANTED you to tag along with him. We then venture on with him aimlessly searching for his and our home. Torturing each other with our presences. But maybe, just maybe, they can slowly become that home together that they were searching for.

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Mr. Scarletella

I LOVE HIM SO MUCH. At first, he appears to be just any ghost that wants to attack us. It took me a while to warm up to him because of so little we knew about him. I thought he wanted to take our name for fun/or collection, but then it's revealed that he knows us. That he harbors some sort of love and obsession for us and believes that we love him because of all the blood and bodies we "offered" him. In a twisted way, this situation is a cute and romantic misunderstanding. Mr. Scarletella fell in love with us for providing him many blood and bodies. He wants us to spend an eternity with him. He WANTS to spend an eternity with us. He invites us to this other world because perhaps he wants us to become a ghostly being just like him, or maybe he wants to have easier access to us (since his myth that he only appears on rainy days) to meet us. Although we didn't get to have as many interactions with him, that is what makes this love toxic. It is a parasocial love, he fell in love with us from afar. When you piece everything together with your dictionary the words he proposes to you sound like wedding vows when you give your name to him. Which make it all so more lovely, even if he takes our soul away.

(My translation/interpretation of the scene, where he asks for your name)

Chapter 2, Scene 24

Scarletella: "You found your name...?"

Scarletella: "Teach me your name." (ARF ARF WRARF)

Scarletella: "I want you." (YES PLEASE)

Scarletella: "Will you give your name?" (OF COURSE)

Scarletella: "Your name?" (👁️👄👁️)

*You give him your name here*

Scarletella: "I have your name."

Scarletella: "I have obtained you." (YES YOU DID, COME TAKE ME)

Scarletella: "Let's leave together." (ARF ARF WRARFFFFFFFF)

Scarletella: "I love you"

Scarletella: "And you love me."

Scarletella: "You gave it to me...Thank you" (I'LL GIVE YOU IT ALL)

Scarletella: "Forever/eternally together..." (YES SIR)

Scarletella: "Together." (ARF ARF WRARRF ARFA)

He is quite the romancer hehe. It seems like Mr. Scarletella has some form of concept when it comes to love, which is to be together forever, even if you end up as a blood pool. Together is together.

I find it interesting how his two endings: Scarletella and Scarlet Rain parallels each other so well. In the Scarletella ending, we (mc unknowingly) give our consent to being together forever with Mr. Scarletella, but we are still alive. When MC wakes up, she sees a clear umbrella on the floor and picks it up. I believe that we have now embodied or spirited the umbrella, spending eternity with Mr. Scarletella. He owns us now.

However, in the Scarlet Rain end he becomes ours, the umbrella stays red, and we still, eternally are together forever.

[emeryleewho]

I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.

So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."

I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?

It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.

Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.

So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.

Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.

[masterhallmark]

Rant incoming

I feel like the problem with a lot of Disney's live action remakes (and arguably Wish) is they're trying to appeal to a crowd that no longer exists, namely the people who used to claim that the Disney Princesses were sexist.

All the interviews tend to include, "Well she's not chasing a MAN anymore" which...almost no one sees the princesses like that, anymore. Virtually NO ONE still believes the princesses are man-chasing sexist caricatures of women.

Cinderella is now hailed as an abuse victim who stayed strong long enough to get help to get out of her situation. Anyone who says she should have saved herself is basically regarded as a victim blamer. And it's very clear in the film she wasn't looking to marry the prince, she just wanted a night off. She was the only one who wasn't in line to meet him. She didn't find out she met the prince until he went looking for her!

Snow White is now hailed for her negotiation skills, ability to calm down after extreme stress (she had a moment of panic and had to cry for a bit, but who wouldn't after finding out The Queen hired someone to kill you?), and ability to take charge of a house of adult men. And again, she was an abuse victim, this time trying to escape ASSASSINATION ATTEMPTS. While she dreamed of her prince, it was secondary to her main goal of SURVIVAL. There are also entire video essays about how Snow White gave hope to people during The Great Depression.

Everyone acknowledges that Ariel wanted to be human BEFORE meeting Eric. We all know she was a nerd hyperfixating on humans, and also standing up to her prejudiced father.

We understand Sleeping Beauty wasn't the main character, the Three Good Fairies were, AND PHILLIP WOULD NEVER HAVE BEATEN MALEFICENT WITHOUT THEM! He literally depended on them! WOMEN SAVED THE DAY! But even then, is it really such a sin for a girl to fantasize about romance and fall for someone with corny pickup lines?

We all understand Jasmine just wanted someone to treat her LIKE A PERSON. She rejected every Prince before Aladdin because they treated her like a prize. So why did they need her to want to be Sultan? How did that make her more feminist when she already wanted to be treated like an equal and have a say in her future? Is it only empowering if you want a career in politics?

We admire that Belle, despite living in a judgemental village, was kind to everyone (even though she found the village life dull), and her story teaches girls that the guy everyone else loves isn't always a good guy. What's sexist about teaching girls about red flags? And she didn't start being nice to The Beast until he started treating her with respect and kindness.

Do I really NEED to defend Mulan or Tiana? I think they speak for themselves.

Rapunzel was yet another abuse victim who just needed a little help to get out of her bad situation. In this case, she also needed to learn that she was an abuse victim, and that what Mother Gothel did WASN'T normal, much like many victims of gaslighting.

And don't get me started on the non-princess animals.

Perdita had a healthy relationship with Pongo to the point she was open to express her pregnancy fears to him, and was ready to TEAR APART Cruella's goons for daring to touch her puppies as well as adopting the other puppies. Like, she was so ferocious the goons mistook her for a hyena! She's basically that "I AM THAT GIRL'S MOTHER!" scene from SpyXFamily if Yor were a dog. She and her husband were a TEAM.....but they made a Cruella live action to turn her into a girlboss?! The literal animal abuser!? THAT'S the woman you wanted to put on a pedestal when Perdita was RIGHT THERE!?

Duchess kept her kittens calm after they had been catnapped and was classy as heck. Nice to everyone regardless of social class during a time period where that was uncommon.

Lady stood up to Tramp when she believed he had abandoned her and didn't really care about her. She found out he was a heartbreaker and was like, "Nuh uh. No. You are not doing that to me! You put me through enough."

Miss Bianca from The Rescuers was IN CHARGE the whole movie, and was willing to risk life and limb to save an innocent child. THAT TINY MOUSE TOOK ON ALLIGATORS! And she picked Bernard to accompany her because he was the only one who wasn't ogling her. And then in the sequel SHE DID IT ALL AGAIN! I wish I were as brave as her.

Like, the public haven't accused these ladies of being sexist caricatures since 2014 (Actresses and actors don't count, they're out of touch like the rest of Hollywood) yet Disney is operating under the assumption that the public still thinks that way, hence all the "sHe'S nOt AfTeR a MaN iN ThIs VeRsIOn" talk.

The live action remakes are trying to attract an audience that doesn't really exist much, anymore, and back when it did exist, was comprised mainly of people who didn't actually watch the films. The Disney princesses are no longer seen as sexist, and feminine qualities are no longer seen as weak or undesirable.

[herdivineama]

ㅤ        ㅤ            ⠀ꕀ⠀𝆹⠀⠀ׄ⠀⠀ִ⠀ worthless talking ⠀ּ ּ    ✧

Arguments with various characters

S1! jinx , S2! vi , S2! caitlyn , and ekko x fem! reader

arguing , mention of having a crush ( vi ) , hurt/no comfort , cursing , mentions of marriage ( caitlyn ) , drinking ( vi ) , mention of reader working in the brothel ( not prostitute ( vi ) ) , suspected cheating ( caitlyn ) , injured reader ( ekko )

not proofread or requested

masterlist ૮ ྀི ◞ �� ა navigation

love is my curse ( part 2 )

JINX

arguments with her are usually light and can easily be dismissed or solved quickly but this is very different. silco has been pressuring her as of late about her weapon for the hex gemstone; which has been stressing her out and getting more irritated by everything little thing. “jinx baby?” you spoke softly, trying to not make her anymore irritated. “yes toots?” she frantically looking back and forth at her parts and blueprints for her fishbones, “are you doing okay? do you eat?”

she shrugged her shoulders, continuing to screw the screws in. you silently gulped and walked closer to her. “listen baby…can you take a break or something? i don’t remember the last time you slept or even eat and—” “shut up.” you immediately looked her way like you misheard her. “i-im sorry what..?” she kissed her teeth, “ i said shut up! all you ever do is nag and nag around me! do ever shut up? i’m trying to work so i can hurry up and finish this project, but no you just can’t seem to leave me alone while you’re—” she stops mid sentence, looking to see where you were last standing, “y/n?” she asked to absolutely nothing. she rolled her eyes, not bothering to think about you anymore, too focused on the hexgem project.

walking through the streets of Zaun, tears blurring your vision as you do your best to wipe them away but if anything you made your mind clear as day in Piltover; she doesn’t need you there anymore. continuing to walk through the lanes until you reached your home.

VI

pitfights. you hate no—loath them. so imagine your reaction to hearing that your crush becamea pitfighter after that massive fall out with the stupid top side girl. you watched as a friend of hers drag her up the stairs then she starts pushing him off and telling him to fuck off. you watch as the friend just walked away; already tired of her bullshit.

you breathe, mentally preparing yourself and your lecture of what you want to say as you head up the stairs slowly until you reached the door. out of curiosity, you reached for the doorknob, and its unlocked. ‘of course this idiot wouldn’t lock the door.’ you thought, twisting it and slowly pushing the door, seeing vi collapsed on the bed but still awake. you clear your throat loudly, catching her attention as you stand close to the now closed door. “vi.” your voice cautious but fed up. watching her destroy herself over a top side is so pathetic, even jinx powder would laugh in her face. vi groaned tiredly, “can’t seem to catch a fucking break anymore.”

“fuck a break! what do you think you’re doing?!” you wave your hand around, as you often talk with your hands. “what the hell are you talking about…!?” vi retorted back. “look around you vi, and your hair! your outfit! you’re a damn pitfighter.” you pointed at everything you mentioned, “why?! is it because of that fall out you had with that stupid top side girl..?!” vi abruptly gets up and stands in front of you. the smell of strong beer and whiskey clog your nose, in her breath, her clothes, everywhere, “don’t you dare bring her up.” you scoffed, “why not? she treats you like shit but now you’re a floor licking puppy for her..?” you stare at her, raised eyebrow, “at least she was better than you in many ways than one.” “excuse me?” “get the fuck out y/n. go back to being a fucking prostitute or something.” “i’m not a prosti—” she punched the wall next to your head, you flinch, hard. “out.” her voice threatening. your hands and feet quickly move as you open the door and fumble out of the apartment was vi was was.

CAITLYN

a lot has happened in a short amount of time, well, caitlyn proposed to you, then jinx blew up the council and killed her mother, then your fiancée became a damn Dictator and has been worked and training nonstop with Ambessa, and you’re starting to worry. she has been looking burned out a lot more and tired to even notice you sitting next to her on her desk as she stresses over paperwork.

“dear?” you twirled your finger around her loose hair. she jumps a bit, snapping out her thoughts and looking up to see her fiancée, you, “sorry darling, do you need something?” she fidgets with her pen and fingers, you smile at her weakly, “your dinner is cold.” you point to the cold dinner plate, nothing eaten on the side table next to her. caitlyn sighs heavily. “right, i apologize my dear, ill…make sure to eat.” “this is the fourth time dear. you can’t be a commander with zero energy.” you cross your arms over your chest, “i know know i’m just” “i’m starting to think ambessa was a bad idea again. i worried about all this pressure and process. like especially after your mother died, this isn’t good..” caitlyn’s fist banged against the desk, stopping you mid sentence.

“i don’t need your pity or concerns right now.” you stare at her, confused. “what are you talking about right now dear?” “i’m saying you talk too damn much.” she stood up, the chair scratches against the floor and walks away from the desk, “where are you going?” you asked while sliding off the desk, “out. i need some fresh air.” you tilt your head to the side and keep your arms crossed, “fresh air? or maddie?” the blued hair commander stopped dead in her tracks, “what…what did you just say?” you scoffed, as you walked past her, bumping her shoulder. you open the door, revealing maddie with paper works in her hands, “i’ll take my leave.”

EKKO

patrolling the area around the safe area, but your mind consumed with the thoughts of your boyfriend, he’s starting to overworking again. and that’s pissing you off. months of you guys dating and he still doesn’t get the memo. you sat on top of the tunnel entrance towards the hideout. staring up at the stars, wishing ekko was here with you.

suddenly, you feel a long cold metal jabbed into your side. you immediately clutch it to stop it from entering further until the culprit kicked you in the back, causing you to roll off the top and your body thudding against the cold concrete then you saw black. you wake up, the knife removed and you’re wrapped in bandages around your stomach and your arm is in a cast. your eyes adjust to the light shining down upon you, you wince as a headache rises and you hear muffled sounds of someone screaming your name. once your mind finally adjusts to everything, you hear ekko,

“hey hey hey! firebug! what happened?” his hands placing everywhere patting you down. you wince again, “ekko…that hurts..” you fully open your eyes. “what happened? why did someone find you outside of the base, bleeding out?” he raised his voice, not scary but scared. “i…i was patrolling around the entrance and—” “patrolling? didn’t i say you’re not allowed to patrol unless i’m there?” his voice switch to low. “i can take care of myself ekko.” he gritted his teeth, “well clearly you can not! look at you now! you don’t ever listen huh?” he started pacing back and forth, “it’s like you’re deaf or something, i said no! and you do the entire fucking opposite!” he grabs his mask and hoverboard, stops to say something but rejected that idea and just left.

ekko was so hard to do ngl cause what has he done for to cause an argument🧍‍♀️and you notice how short-ish jinx is? yea cause i can never actually be mad at jinx.

©︎ A M A T E R A S U. all rights reserved. please don't plazarize, copy, or steal any of my works without my permission, thank you !

[poobit]

i have many thoughts on how Mouthwashing handles the themes of abuse and the symbolism around it especially as a survivor ... im not gnna hold back so -

first of all i think since its clear the point Jimmy is dismissive of Anya´s personhood and his perception is warped towards what he does as a Captain rather than what he does as a man, it makes sense she doesnt get her own labyrinth or such , i cant argue around that because its realistic he´s so male focused he cant even bother to truly think about what he did to her, i would love it if Wrong Organ decides to do a side story vignette of her own perspective and view in the future if the game proves its successful enough for side content like that.

Assault is something usually not handled with subtlety in games, i think what struck me the most was how real the dialogue of her coping and suicidal ideations and how Curly responded to it felt , the dancing around the subject, the deflection, the "whats next" of the ever impending consequence of pregnancy, how Anya pleads for help from the person she trusts but nonetheless a man unequipped and too emotionally attached to the abuser to be able to confront him, its so real, Curly´s lack of initiative is something Jimmy fully takes advantage of the moment things dont go his way, he turns everyone against him even as a helpless body on a bed because he needed to be in control of the situation, thats what abusers do.

A more sensationalistic game would have easily played Anya´s helplessness and assault for shock for sure, because it would be easy, she is the archetypical victim trope, shes modeled in Wendy Torrance likeness from The Shining, shes meek and unsure of herself and Jimmy shoots her down from the very beginning to make her feel unqualified and cornered, but the furthest the games goes is making Jimmy terror towards the pregnancy and the baby as a boogeyman that crawls and tramples over him. No sights of bleeding legs or her crying or screaming and much less present objectification of her body (which is something that i always think the horror genre has such a struggle not grabbing onto, sexuality is mostly always played up in assault stories especially if the victim is an adult woman), she remains a fully clothed figure and maintains the agency to her own demise, away from Jimmy and beside Curly, which is tragic and obviously still a symptom of horror´s proclivity to back female characters into corners of self inflicted punishment, but the alternative would have been that sooner or later, Jimmy would have killed her.

Its clear to me that the game used Curly´s state as a way to put a barrier between Jimmy and Anya, we dont objectify Anya, but we objectify Curly, Anya doesnt just feel pained and unable to handle Curly´s medication because shes in a sensitive state, her comments about his noises and such draws a line between her trauma and her perception of things as Her fault, she cant handle hearing his struggles and cries trying to swallow a pill because it reminds her of her own helplessness, so she leaves the task to Jimmy, someone who has no qualms in forcing someone down, the emphasis of every treatment as a repetitive process and the sound design is all very poignant and for me, a great way to handle assault as a metaphor, Curly did not consent to being in this position, it is very much still Jimmy´s fault and the fact that Jimmy is basically keeping him alive against his will even to the last moment of the game says everything, Jimmy doesnt love Curly the same way he doesnt love Anya.

The horses are not lost on me, i think horses as animals are often seen as "viril" symbols, strong and often volatile, they can be often hard to mount but when one does the rider and animal are seen as this one all powerful entity, like centaurs, which also carry symbolism of assaulters mind you, so while maybe not intentional on the dev´s part i think it still points to the Horse as a symbol still important in the game, the only spoken audio lines of dialog come from the Pony Express mascot Polle itself, and they are the first to actually confront Jimmy´s self centered line of thought and over-focusing on Curly, if the Tulpar is akin to a beast of a burden then Jimmy beat the dead horse way long ago.

All in this to say that Mouthwashing was a really good experience and i really hope the dev team is interested on expanding a bit more on it because i trust their vision.

[alpaca-clouds]

Why the media CEOs will always learn the wrong lessons

Yesterday a friend and I talked about how the entire (AAA) game industrie looked at BG3 being as popular as it is and going: "Oh, we need to produce 100+ hour games, I guess! Those sell!" Which... obviously is not why it is popular. The game is not popular because it has 100+ hours of gameplay, but because it has engaging characters, that are well-acted and that work as good hooks for the players. Like, let's face it: The reason why I so far have sunken 160 hours into this game is, because I wanna spend time with these characters - and because I wanna give them their happy endings.

But the same has happened too, just a bit earlier this year, right? When Barbie broke the 1 billion and every Hollywood CEO went: "Oh, so the people want movies based on toy franchises! Got it!" To which the internet at large replied: "... How is that the lesson you learned from this?"

Well, let me explain to you, why this is the lesson they learn: It is because the CEOs and the boards of directors at large are not artists or even engaged with the medium they produce. They mostly are economists. And their dry little hearts do not understand stuff more complex than numbers and spread sheets.

That sounds evil, I know, but... It is sadly the truth. When they look at a successful movie/series/game/book/comic, they look at it as a product, not a piece of art or narrative. It is just a product that has very clear metrics.

To them Barbie is not a movie with interesting stylistic choices that stand out from the majority of high budget action blockbusters. It is a toy movie with mildly feminist themes.

Or Oppenheimer is not a movie to them with a strong visual language and good acting direction. No, it is a historical blockbuster.

And this is true for basically every form of media. I mean, books are actually a fairly good example. In my life I do remember the big book fads that happened. When Harry Potter was a success, there was at least a dozen other "magical school" book series being released. When Twilight was a big success there was suddenly an endless number of "teen girl falls in love with bad boy, who is [magical creature]" YA. When the Hunger Games was a success, there were hundreds of "YA dystopia" books. Meanwhile in adult reading, we had the big "next Game of Throne" fad.

Of course, the irony is, that within each of those fads there might have been one or two somewhat successful series - but never even one that came even close to whatever started the fad.

Or with movies, we have seen it, too. When Avengers broke the 1 billion (which up to this point only few movies did) the studios went: "Ooooooh, so we need shared universe film series" - and then all went to try and fail to create their own cinematic universe.

Because the people, who call the shots, are just immensely desinterested in the thing they are selling. They do not really care about the content. All they care about is having a supposedly easy avenue of selling it. Just as they do not care about the consumer. All they care about is that the consumer buys it. Why he buys it... Well, they do not care. They could not care less, in fact.

So, yeah, get ready for a 20 overproduced games with a bloated 100+ hours of empty gameplay, but without the engaging characters. And for like at least 15 more moves based on some toy franchise, that nobody actually cares about.

And then get ready for all the CEOs to do the surprised Pikachu face, when all of that ends up not financially successful.

Really, I read some interviews yesterday from some AAA-studio CEOs and their blatant shock and missing understanding on why BG3 works for so many people.

Because, yeah... capitalism does not appreciate art. Capitalism does not understand art. It only understands spread sheets.