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thran-duils · 4 years ago

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Use All of Me (P.12)

Title: Use All Of Me (Part Twelve) Summary: Fem!Reader x Dark Mob!Steve Rogers. The Avengers are heroes saving the world but in this AU, they are also permitted by the powers in charge to have less than favorable business underneath their guise of mere superheroes. Steve and Tony are at the helm, keeping their empire’s wealth in check, both devious and perilous if crossed. Steve takes a liking to the reader at a party and it may be her undoing to her autonomy choosing to go home with him. Words: 3,008 Warnings: Dark AF, angst, emotional/mental abuse, smut, breeding, death Author’s Note: ♫ Steve is getting desperate ♫

Part Eleven || Part Thirteen || Masterpost (mobile) || Fanfic masterpost

Tony was pacing in front of the cameras he had up on the large wall when Steve entered the room. Bucky, Sam, Clint, and Rhodey were already down there with Tony, sitting or standing. The general feeling in the room was tension and it was permeating the air.

“Get anything from him?” Tony asked as soon as he caught sight of Steve.

“He didn’t know shit,” Steve said gruffly. “Not that I gave him much time to say anything past admitting he had known she wanted to escape. If he was going to help her, he would have driven her off the property himself and disappeared with her. He would not have stuck around afterward if he had assisted her in any way. He was not that daft.”

“I would beg to differ on that,” Natasha commented, coming to stop in front of the cameras, her eyes searching the screens. “Are you only focusing on New York?”

“Larger cities in the north east for now mainly,” Tony answered, coming to stand beside her. He pointed at the lower right corner of the screens. “I have it set up to follow the main tracks of the Amtrak across the country the longer time passes.”

Bucky came up to Steve and asked, “Her family?”

Steve shrugged, “Her parents aren’t alive. Didn’t mention anyone else really. She was an only child.”

“What about her friends? They could have family in other states.”

“I could look into that,” Clint said. “Facebook isn’t that hard to look through and people are always oversharing on that stupid app.”

“Speaking of her friends… if she says anything she’s heard from you, Steve, about the business, that’s not going to be good,” Rhodey said, looking grim.

Uncomfortably, eyes swept to Steve quickly and he shook his head. “I don’t think she’s concerned about that,” Steve said tightly. “She just… wanted space. And instead of asking, she does some impulsive, unsafe bullshit.” He was working himself up again, his hands resting on his hips tensely. “Absolute horseshit.”

Tony turned from the screens, taking a few steps towards him. Trying to reason with Steve and calm him down, he told him, “Look, Pepper did too when we first got together. It takes a while for them to adjust from the hustle and bustle they were used to, but they do eventually. Unfortunately, Y/N had persistent friends. Stupid, persistent friends at that. But we are going to find her. You’re gonna get your kids back and her.” Tony held up his hand as an idea came, “And on that note, you need to register with the putative father registry.” Steve’s brow stitched in confusion. Tony laughed and said, “Trust me. I did it when I was younger because I was a little loose and needed to know if any of the women I was with – and I was for sure the father – were going to do anything with the kid that would blow back on me. There’s a notice to claim paternity form for a child born out of wedlock. With that, you’ll be notified of any court proceedings, such as adoption or guardianship changes.”

Steve’s jaw clenched at this and Tony said, “I don’t think that’s out of left field that might happen.”

“I’d love to see her try,” Steve said darkly, a deep scowl on his face.

Tony had to smirk at that ferociousness. “Hmm, me too. And good thing about this is that she won’t be notified that you registered. You know, not that she would get a notification anyway because she is AWOL, and it would go to her old address. It also doesn’t need to get notarized.”

He clapped his hands and turned to look at everyone else. “So, we’ll keep these on here. Like I said, the Amtrak cameras are going to go down the three main tracks. If it happens she’s gone for longer, we will start scanning outwards of the northeast on the other cameras. Barton, you got the familial ties. Man, big notes if the family is in a bordering state. Oh, I did get access to Natalie and Yua’s phones, but they are unfortunately turned off. Smart cookies. But if they turn them on again, it’ll light up on this laptop—”

“I’ll watch it,” Natasha volunteered.

Tony nodded in acknowledgment. “Unfortunately, we can’t put out a look out on the license plate because well… it’s Natalie’s car and it’s not stolen if she’s driving it.” He sighed and shrugged, “The rest of us… just on standby I suppose until we get something.”

“Do you want me to handle the meeting tonight with the union?” Rhodey asked.

“I forgot about that. Thank you for remembering,” Tony said appreciatively. “So, yes. And don’t let them try to bully you into giving them a bigger cut. Our deal is set, they just need to give us the money from the trade.”

“Do you have the surveillance video? Of Y/N leaving?” Steve asked him suddenly.

“You sure you wanna watch that?” Tony asked, skepticism lacing his tone. “I don’t need you punching a hole through these screens or anything.”

“No, I want to see it,” Steve said. “I want to see what she left with. Make sure she just didn’t hop in a car without anything.”

“Alright,” Tony said, still sounding uncertain. He walked towards another laptop and opened it, working to pull up the video.

Steve was there behind him, looming. He sat in the chair in front of the laptop, watching Tony rewind to the part he wanted to see. It stopped as the women started coming out of the house. Steve leaned forward, his eyes zeroed in on where Y/N was standing saying goodbye to everyone. He watched until it was just Yua with her and then Natalie came out of the house, a duffel bag over her shoulder and a hoodie and hat in hand. She threw it into her car and they moved quickly to put the coat on Y/N and get her into the backseat of the car. She was adjusting the hat and pulling the hood up as Natalie pulled away.

Tony was right. All Steve wanted to do was grab the laptop and smash it repeatedly on the table to try to quell some of the white-hot rage exploding inside, thinking if Bryce’s dumbass had just been outside, they would have never been able to even get her into the car in the first place. And how Natalie had managed to not be stopped in the house by him made him even angrier if possible. The giant oaf had been watching a movie Wanda told him.

He held it together though, keeping his hand steady as he reached up and closed the laptop with a slight snap but not too hard.

“Well, at least she’s got some clothes I guess,” he said to no one in particular. He pushed the chair back with a loud squeak. “I need to go on a run.”

<><><>

“And what? Go back to the city and wait for Steve to find me and beat the crap out of me until I give him information?” Yua asked seriously.

Your mouth fell open slightly at her bluntness. You had asked Yua what she was planning on doing past this as the three of you sat on the back porch of the cabin in the moonlight. When you had suggested going home, she had rose her brows in surprise before saying what she had.

She noticed the look on your face and apologized, “Sorry. That’s just… what’s going through my mind. Filter is a little gone by now.” She held up her fourth beer can sheepishly.

“I don’t think it’s far from the truth,” you said quietly. “So, you’re smart for worrying about it.” You shifted in your seat and admitted, “Steve doesn’t exactly sleep much either. So he’s got more time in the world than most.”

“Insomnia?” Natalie asked.

“No. He doesn’t need to. He would fake it a lot of the time… you know, just to lay in bed with me during the night.”

“That’s kind of romantic,” Yua said and Natalie shot her a piqued look. “What? It is!”

“Or creepy because he wanted to be next to her all the time,” Natalie retorted.

“I think it was a little bit of both. It’s not like he wouldn’t hear me get out of bed even if he was in his study or somewhere else in the house, so it’s not like being right next to me would have made much of a difference in the long run,” you muttered, picking at the blanket. “But, he enjoyed it I think. Lying in bed with me. Snuggling me while I slept. He’d watch TV quietly too.” You chewed on your bottom lip, thinking of how you had enjoyed those moments too, waking up with him there, warm in his embrace. Admitting that out loud though was too hard; like it was fake that you had asked for help.

“Good thing light doesn’t bother you when you sleep. Honestly, I’m jealous of your ability to just fall asleep wherever,” Natalie said, trying to lighten the mood.

“Soaking it up while I can,” you said, giving a halfhearted smile.

“Where are we going to go though? Seriously? We can’t exactly go back to our apartments for our things. I’m afraid someone would be watching,” Yua said and you admired her ability to think ahead like that.

“We could order a moving service. Have them store our things in a storage unit outside NYC. Then after a substantial amount of time, have it shipped to wherever we move to,” Natalie suggested before she sighed heavily. “How am I going to get a good recommendation for a job by just quitting?”

“You could call and tell Brett the truth. Well, not who we are running from, don’t want to get anyone else involved, plus you know… they are already going to be mad about Y/N leaving with secrets. So no need to incriminate them when they’re already expecting it. On the off chance they do find us, not having gotten them in trouble with the law will probably bode well for us. But anyway, you know… tell Brett that you’re helping a friend escape an abusive partner.” Yua suggested. The two of you were staring at her in astonishment and she shrugged. “What? That’s what I was going to do with my boss. I can work from home completely. I already do it half time. He just needs to mail me a laptop and we already have WiFi here. Thank god, I would die without Netflix.”

“You astound me sometimes,” you told her, a wide smile on your lips. And it was quickly replaced by tears of gratitude and she reached for your hand, grasping it tightly. “No, it’s fine. I’m just… overwhelmed. I didn’t want you guys to have to uproot your lives for me.”

“We’ve been friends for a decade. Plus, it’s not like I have anything going for me back there anyway except a high paycheck and a string of hard dicks following behind me like dogs and I can get that somewhere else,” Yua responded, taking a swig of her beer as you and Natalie laughed. She gave your hand one more squeeze before pulling away.

“Plus, New York was getting a little tired anyway,” Natalie chimed in. “I’ve wanted to move. Not ideally like this but… I think we can make the best of it.”

Nodding, you said, “We can try.”

You suddenly stilled, your fingers digging slightly into your abdomen.

Yua sat up quickly, “What? What’s wrong?”

“I… I think one of them just kicked,” you said, a slow smile spreading across your face. The two of them immediately relaxed. You shot Yua a look and asked, “Is that too early?”

‘No, that sounds right on time,” Yua said. “Especially for your first one.”

Looking down at your abdomen, you smiled again softly this time. You tried to will them to move again, imagining them sleeping there. You wondered what they were dreaming about.

<><><>

Steve thanked Tony for bringing him the sandwich he had placed in front of him, taking a large bite. He was and had been planted in front of the surveillance screens for a long while, only getting the minimal amount of sleep he required and only when someone else was there to watch while he was out. Rhodey had just been watching with him and got up to stretch his legs, also thanking Tony for bringing the sandwiches.

A ring cut into the silence and Steve swallowed before picking up his phone. He saw the number on the phone, recognizing it as Dr. Kamal’s office.

“Hello?”

“Mr. Rogers?” A voice said on the other end of the phone.

“Yes?”

“I am calling from Dr. Kamal’s office. It looks like Y/N has an appointment right now and we were wondering if you were on your way…?”

“Shit,” Steve swore under his breath and said, “No, no we are not on the way. I’m sorry. It completely slipped my mind to call and cancel.”

“Would you like to reschedule? There’s an opening later in the day, there was another cancellation. Or we can look—”

“Look, I’m going to be honest,” Steve cut in. “I don’t know where she is.”

“O-oh,” the assistant said on the phone, stammering a bit at that information. “Like today or…?”

“I haven’t seen her for days,” Steve clipped. “She ran off with her friends. I’m not sure to where. I have not had contact with her. So, I can’t make an appointment because I don’t know when I’ll find her or if she’s coming back.”

The assistant said slowly, “Um, well, I suppose then give us a call when you do know.”

“Will do,” Steve muttered before hanging up the phone.

Steve let out a frustrated sigh, slamming his phone down on the counter. His mind was racing thinking about Y/N missing a check up and something being wrong with the babies, with her, or both. He hated not having control of the situation and not being confident she was being kept safe by him.

He looked to Rhodey and Tony. “It’s time to report her missing.”

“Steve, she’s not missing. The cops won’t—” Rhodey started to say.

“I don’t need the cops. If we get her face out there, someone might call.”

“And if that someone is a cartel or something? Saw her face, kidnaps her or all three of them and then demands ransom?”

Steve shouted, “Then I’ll fucking pay it, Rhodey!”

Rhodey closed his mouth and shot a look at Tony, who merely shrugged in return. Rhodey sighed, knowing that Tony would be acting the same way if it was Pepper who had run off on him and would not be garnering any support to dissuade Steve from it from him.

<><><>

Yua came into the cabin quickly, tossing her bags down, startling you and Natalie watching a movie. She stood in front of the TV, blocking the view. “We got a problem.”

“What?” the two of you demanded in unison.

“Your face is all over the place on one of the news channels. I saw it at the mini mart behind the counter.”

Natalie scoffed, “How? Are they saying she’s missing?” Yua nodded and Natalie let out a frustrated noise. “Aren’t those supposed to drop if no foul play is expected? Like… they can easily draw conclusions that you ran off on your own accord. It’s clear in the tapes I’m sure!”

“Money,” Yua said darkly. “They’ll be able to keep up advertisements about it forever probably with all the money they have. Probably banking on everyone wanting to do a favor for Captain America. Who wouldn’t want to be in his debt for a favor? Plus, they’re also playing the ‘she’s not mentally competent’ card.”

“What?” you asked shocked, feeling like you had gotten socked in the stomach.

“You can’t be serious. Just because she’s pregnant?” Natalie demanded.

Yua said nothing which was answer enough.

“How will I go to a hospital?” you asked in a voice barely above a whisper.

Natalie assured you quickly, “You can use an alias when they admit you. And when we bring you in, we will have a hood on and a hat, just like when you left. Hopefully there won’t be a lot of people in the ER. Upon discharge, your real name would be attached to the records but under HIPAA you’ll be protected.”

Yet, HIPAA could not protect you from someone who desperately needed money really.

“But… won’t someone turn me in to Steve?” You could not keep the worry out of your voice.

“We don’t know that for sure,” Yua said gently. “And I don’t think it’s something you should worry about.”

Squeezing your hands together, you focused on your breathing, trying to remain calm and push the thought from your mind. Your birth was still far enough off that hopefully it would die down a little.

“Have you thought more about adoption?” Natalie asked you gently.

You nodded, “Yeah. Can I though if I am not a resident of the state?”

“You can surrender a child – or children, in your case – up to the hospital within 72 hours in most states. I checked,” Yua said.

“Good,” you said, nodding. It hit you suddenly and you asked panicked, “You turned your phone on?”

Yua shook her head and said, “I asked the guy at the station to check it out for me. Slid him an extra five dollars while I went to call my mum on the pay phone, let her know I’m okay. He was confused but he did it.” You relaxed hearing that, as did Natalie. Yua ventured, “Are you sure that’s what you want to do? Adoption?”

You swallowed thickly, avoiding eye contact. The two of them were quiet, waiting for you to figure out how to answer. “I’m not sure,” you whispered, breaking the silence.

~~~

Tags: @imsonick , @alexakeyloveloki, @kvzctam, @ironlady1993, @taintedgenre, @inlovewiththefictionalcharacters @roxyfan14-blog

#steve rogers x reader #dark!steve rogers #dark steve rogers #dark marvel fic #marvel fic #my shit

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thepeachgreentea · 4 years ago

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this got Real Long Real Quick...

I wanna know more about Luka's soul song gift - like how much do emotions or personality play into it? ((I’m going with a lot)) Does it only work in person?? Or can he get like snippets from videos or vibes from pictures? Like it would make sense if it was only in person...... But where's the fun I'm that? Realistically it wouldn't be as strong as in person but I could see him getting some stuff. Pictures it probably wouldn't be a lot, or even much of anything, unless the soul song really didn't match the picture...

Which means Luka is one of the first people to realize something is Up with Adrien (and the Agrestes in general)

The ads around the city never felt right, never matched up with the snippets/vibes he was able to get - unless Adrien was supposed to be sad or melancholy. Which is... yikes...

Then the Adrien The Fragrance commercial happens. And that's an additional big Fucking Yikes

Like I can only imagine that Adrien isn't particularly big on modelling in general from what we've seen (with the Marinette-exception) so the filming of that could have only been Worse than normal. How many times did it take to get the emotions at the ‘right’ level? How long did it take to get the angles and all the action done?

Anyway: after the first time Luka literally cannot stomach watching it or even listening to it because it is so Wrong. The soul song snippets from the video are longer and more intense and it is just so discordant that Luka can't deal

Adrien is most certainly NOT feeling carefree. Or radiant. Or remotely dreamy. He's goddamn exhausted, frustrated, resigned, depressed, sweaty, anxious, awkward, stressed. It is a whole stew of (teen) angst offset with that upbeat music and the bright blue sky & all that w h i t e and the jumping for joy

It is such a strong dichotomy Luka has a visceral reaction every time and has to either leave the room or mute it and look away,

All of that means that after he meets Adrien in person, and gets to hear his soul song in a couple different situations and can see his emotions matching internally and externally he basically tells him they will always have space for him on the Liberty. (Also the first time he saw the LB + CN movie and heard Adrien's voice acting he only picked up some nerves - easily attributed to a new situation rather than a secret identity - but he was clearly enjoying himself even if it was a terrible script)

Therefore, Luka doesn't have particularly good feelings towards Gabriel, even before seeing any videos of him.

Style Queen was a Time. He was happy for Adrien but the bits he was getting from Gabriel were so rigid and tight... And rather selfish to boot. Which was weird given the situation

He has to try very very hard to not sneer or snarl at the tablet he first "meets" him on - probably at a Kitty Section practice or concert or at some class + family event.

I can also v easily picture him meeting him in person and being super uncomfortable at the sheer amount of manipulation and self-aggrandizing, selfishness, etc that rolls off of Gabriel, basically choking out his soul song. Either Lula barely refrains from punching Gabriel and manages to shake his hand but then desperately needs to clean his hands. Orrrr he does punch him and then basically coats his hands in sanitizer (either way he is Nino’s absolute favorite person for this alone)

Also, this would not be the first time Luka has figured out an abusive situation. It has happened with both his own and Juleka's friends & classmates. He is v much a protective older brother at heart

And because I damn well can have some Lila salt, some of which has been touched on before, unlike with Gabriel:

He had heard about her from Juleka and Kitty Section and was a bit confused about it but it wasn't until Rose was over and the girls were telling him about some of Lila's stories that he saw a picture of her.

And that was The Strongest he had ever reacted to a picture before: instant chills up his spine and an actual hiss escaped him

All 3 of them are shocked. Luka then has to explain that reaction as best as he can. Which is hard when you aren't great at words and while the soul song fragments are rather clear he would never make his guitar suffer trying to recreate them.

He manages tho and Julerose are at least wary of her afterwards. They start observing her more and a lot of her behavior and the way she talks can be very off-putting. They start noticing some of the digs that she makes at others, that she contradicts herself 5 different ways, and how she is constantly bringing the attention back to herself.

During all this they start noticing how both Marinette and Adrien react to her and it is Not Good. Mari gets defensive and will often try to bring up those contradictions that they started noticing. But jealousy is only a minor factor, at most. In certain situations it is possible that it could be involved... except those only happen when Adrien is looking very uncomfortable and Marinette notices or they make eye contact and then Marinette creates an opportunity for him to escape

Which is something that no one else is noticing which is really terrible and unhealthy...

Around this time is when Ivan has started to figure out something is up. and then he definitely knows when Julerose show Luka a video at a private band practice.

Because video and in person interactions make the BadBadBAD feelings worse and Ivan, while he often struggles with understanding & expressing emotions, has definitely noticed Lila - even though she is not actually there - causes a lot of stress and anxiety to Luka and he has gotten really good at methods of lessening those.

So, Luka sees the video with/of Lila and has an even stronger reaction than the picture before. His eyes get huge, and his face pales (gets slightly sickly?), and he hisses even stronger than the first time

He refuses to try to play her soul song because something like that is nearly impossible to recreate but also doesn’t need to be put out into the world but does his best to try and describe it

Possible: her soul song feels like it is drowning in toxic sludge - there is just so much negativeness that it is barely intelligible. It is being smothered by self-satisfaction and importance, narcissism, aggressive manipulation, pettiness, vile maliciousness, etc

In person interactions are awful. Luka avoids physical interaction as much as possible. Even more than he would with Gabriel, and he wants as little to do with that man as possible, ideally none. But Lila is worse...

There have been multiple times that he has had to step out/away to be able to get some fresh air and breathe again. At least once where he has been or almost has been sick - usually following a hug that he did not consent to or something similar

Ivan is definitely in the fold now, and Julerose share what they have noticed from taking their step back. He realizes he has noticed a lot of those same things but he wasn’t analyzing them and didn’t have the same context for them at the time that Luka, Juleka, and Rose did. But afterwards he picks up on them more clearly, and some other things they hadn’t - benefits of being one of the quiet kids (and a lesser target of Lila’s focus). He is part of the driving force in bringing Marinette and Adrien in first before going to others.

Marinette breaks down because more people believe her?? and support her and Adrien? it is a huge relief of tension. And she didn’t even have to convince them herself!! what a concept... but it is definitely a safe space for her and she can share her own experiences and that certainly is nice

they had all suspected Something was Up but weren’t expecting that so there are lots of hugs and tears and support and mutters of payback

Adrien eventually cries because Kitty Section + Marinette give him a TedTalk about consent and personal autonomy. And now he has so many people (!!!) telling him he can say no and make his own choices, mistakes, and decisions. (Marinette’s part is largely “I told you so / do you believe us now?” because the Dupain-Chengs have probably already given this same talk as a family but that is just A family’s opinion, others probably think differently) And this is the first time he really truly believes it and... oooof there are a lot of emotions and interactions to unpack and reconsider

but now he knows he really needs to and that he can and should which is new, but so is having an actual support system...

Thus, Luka is ready to fight a bitch the first time he sees Lila and Adrien interacting. There is so much clinging and touching, and Adrien is panicking and no one is doing anything or is being waved off. And (unfortunately) this is one of the things that causes some people to start questioning things about Lila. Because most of them know of Luka as a really chill, laid-back guy who is open and accepting of people. and besides he has no reason to be jealous (((👀👀👀👀 too much to think about and unpack t h e r e))) so why would he be upset about Lila leaning on Adrien and holding his arm??

So, the questioning of Lila and what she says spreads out from Kitty Section and Adrinette to the rest of the class. They take a different approach. They slowly, carefully approach their classmates and take them aside when possible to talk about the situation

This allows them to be able to get their undivided attention and lay out what they have found out in a logical and cohesive manner, rather than attempting something rash or in the heat of the moment. Marinette grumbled about this method initially but when there were actual results and the burden was shared it was a huge relief for her.

In fact, others start coming to them about Lila.

because of the work of Kitty Section and Adrinette Lila’s audience has been steadily decreasing and it is getting easier to notice things. With a smaller audience the focus doesn’t get split as much and there are less questions for her to build off of or go on tangents from and the contradictions start standing out more, or she’s making more to try and keep them around her by holding their interest with different details

Plus, the comments about those outside Her Circle are getting meaner and more frequent. Usually they are still sneaky or underhanded but nowhere near as subtle as they were originally (were they ever, really?) and it is raising suspicions and hackles.

Eventually, Lila is left without an audience because the class has all been brought out of the cloud of manipulation and are working on trust and listening to each other more/better. and on how to not disregard other’s feelings (which is esp important with the high butterfly population in Paris, but is a v good life lesson in general). they are young and will make mistakes and will have to learn from them. but trials, growth, and change are all part of life so it is good for them.

But it essentially all stems from Luka and his ability to hear soul songs and reacting to those songs, or the lack thereof when they are being choked by evil intentions/emotions/actions/what have you

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tempural · 4 years ago

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FIRST SET OF GORL SCOUTS FOR GORL SCOUT DAY!! My latest drawing of Liv, and some of the first ones!

An essay under the cut:

The current state of my girl Scout has taken many years to simmer. Before becoming invested in Liv, I was unfortunately struggling to write girl characters. The media I consumed as a kid informed my storytelling vocabulary, and I must admit that much of the stories I consumed as a babby excluded girl characters. Ed Edd n Eddy, BatMAN, SpiderMAN, x-MEN, hell, video games like TF2 have ONLY male classes! The only female characters in TF2 are Scout's voiceless/faceless mom, the late addition of Pauling, and the Admin's disembodied voice. Mainstream media tends to feed us men as the default/leading characters with so many varying designs and personalities. Women are rarely written with much depth in comparison, and rarely have designs that go beyond ‘cute/hot girl’ or ‘hag’. I recall reading writing advice for men that suggested that if one was having trouble writing women, they should think of her as a male character. It’s a little silly how mainstream media tends to think of female characters as “the other”, barely humans!

Female characters that fall under the “schoolgirl” trope often exist just to be fragile babies or objects of sexual desire (or both at the same time!), and are rarely written with complex wants or sexual autonomy. See: the Aerosmith video “Crazy” where Liv Tyler (the song singer’s at-the-time 17 year old daughter) plays a schoolgirl, gets upskirted, is ogled by a gas station attendant, pole-dances, has a lil’ pillowfight with her friend, and strips naked for skinny-dipping. There’s nothing inherently seedy about the video’s subject. Of course teenagers go on road trips and do “crazy” things! But I find it extremely repetitive and boring to constantly regurgitate the sexy schoolgirl trope in which men (both the director, viewers, and characters in the video) are openly lusting after young girls.

Even media that seeks to subvert that trope still play more on the lust of men rather than the desires of girls. See: Hard Candy. Elliot Page plays a 14 year old girl who lures child predators by playing on the innocent schoolgirl trope, then plays up the sexy schoolgirl trope to trap them into torture and murder. In this case the girl is “in control” -- yet she isn’t. Her personal wants are dictated by the desires of men, and the entire concept is predicated on the girl posturing as prey for sexual predators.. I really enjoy the movie, but it’s a very straightforward take and something in me wants a little bit more twists and turns. There just doesn’t seem to be a world, even in media fantasy, where girls have desires but are not the object of desire.

The earliest form of a girl Scout/Liv that I have are these designs for what I labeled as the “Japanese Groupie” from 2013. It plays upon the same concept as Hard Candy although I hadn’t seen the movie yet at the time: She lures in sexual predators, and chops off their peepees. She’s mistaken as a child, though she’s actually 35, and plays up her short stature and babyface for her trap. She’s also mistaken as Japanese, although she’s Chinese, and she also plays that up because westerners are more enamoured with Japanese pop culture. I still think the concept is fine, but too much impetus for the story is given to the predators, and too much of it plays on the viewer being aware of the identity stereotypes (while people still lack self-awareness in real life: people still mistake me for a child, or mistake me as Japanese)! Not enough story is moved by the girl! I want MORE.

The Scout-Chan SFM is the greatest piece of art in the history of TF2. When I re-engaged with the game in 2018, I was SHAKEN when I discovered it, and had to tell everyone I knew about it!! This is the POV I’m talking about, lads and ladettes! I was enamoured!! The SFM perfectly captured what I liked about the Scout and Spy dynamic! Scout has a crush on Spy, and Spy doesn’t do anything about it (but helps Scout fight crime at night?!!). I love the Sukeban Boy design design for Scout, the whole pun with Sailor Scouts is fun, and I grew up with Sailor Moon so it hit my nostalgia prostate button real good. Most importantly for me, the SFM never shows Scout and Spy in a ”relationship”. They remain distant, but close. I love that.

I had to spread the word of Scout-Chan the only way I knew how. I drew a couple of comics and sketches inspired by the SFM! But they were obviously tinged with my own tastes and perhaps experiences.

My ideas got very off-topic from the original zombie-slayer Scout-Chan, and I wanted to make my own Scout that was a girl. On the way, I drew variations that became other girl Scouts with their own personalities (but always the same face and body! My Scouts are infinite, indistinguishable, and disposable!). I eventually settled on basically the same outfit as my boy Scout, Ollie, with a ponytail that was in between the hairstyle of my 2013 dickchopper OC and Scout-chan. She was to be named Liv, partially because it’s a feminine form of the name Oliver, and partially because of the aforementioned Liv Tyler moment. There’s some interplay with how strange it is for Steven Tyler to cast his own daughter as a sexy model, and how many people compare the Scout and Spy relationship to a fatherly one, with all of that being tossed into a dumpster fire and coming out as a reversal of older-creepy-man into younger-girl-who-creeps-on-her-mentor-figure.

#GORLSCOUTYEARBOOKZINE #femscout #tf2 #tf2 scout #scoutspy #liv

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rachelbethhines · 4 years ago

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Tangled Salt Marathon - The Alchemist Returns

Strap in folks, cause this is going to be a long one. In truth, there are very few flaws in this episode, but in order to explain them I have to really get into some character analysis first.

Summary: Varian comes to Rapunzel for help in finding the remnants of the mystical golden flower, which may hold the key to stopping the Black Rocks. Working together, they venture through the old tunnels beneath Corona. Meanwhile Cass and Eugene work together to figure out who drugged the castle’s populace with a truth serum.

Behold! The One and Only Time Frederic is Called Out on His BS; and Nothing Comes of It.

Rapunzel finally, finally stands up to her dad and points out both his abusiveness and his poor leadership. It doesn’t affect the narrative in anyway. Neither character learns anything from this nor changes their points of view. This conversation might as well not have happened given how the characters behave in later episodes/seasons.

The only reason this scene exists is to give Rapunzel motivation for stealing the flower within the episode. A goal that she changes her mind about towards the end. Thereby walking back on such motivation and putting us back at square one with her development.

Rapunzel Isn’t Being Truthful With Herself Nor the Audience

So people aren't always one hundred percent truthful about what they want and their goals. Especially if it involves admitting something about yourself or a loved one that you don’t want to acknowledge. Fictional characters are meant to give the illusion of being real so they can sometimes mimic this behavior.

Throughout the episode Rapunzel keeps on assisting that she’s doing this ‘for Corona’, but we’re given context clues along side that to tell us that her real reasons are about her relationship with her father.

Unfortunately, the show has a bad habit of not communicating information clearly and also has a history of expecting the audience to take what the characters say at face value. Ergo, it’s easy to miss Rapunzel’s true motivations and thereby fail to fully understand her actions and decisions throughout.

Once Again, These Prophetic Dreams Go Nowhere

Dream Varian mentions Rapunzel has a ‘destiny’ but the show never spells out what that destiny actually is nor why she needs to fulfill it. Sure there’s a big quest for the moonstone in season two, but the rocks stop being a threat by then so really, she doesn’t actually need to go on that quest. In fact, she would save a lot of people at lot of trouble if she did nothing at all. That’s poor storytelling. You need something driving the action; a reason to motivate the hero.

Secondly, we never get an explanation for why she randomly has these dreams in the first season but for none of the others. Nor why Varian is at the center of the them when it’s other villains she needs to actually be warned about, like say Zhan Tiri.

No, the real reason why this dream sequence exists is just to reiterate Rapunzel’s internal conflict. She wants a relationship with her Dad, but he’s a male Gothel, and she’s now caught in the middle of his and Varian’s conflict because she failed to take responsibility when she needed to. And is still failing because she doesn’t want to shatter her illusions about Frederic.

Shoving the main protagonist’s driving conflit into a subtextual dream sequence is lazy. Especially since we get no official resolution to said conflict. Rapunzel never acknowledges the problem here, never follows up on any type of action, and she never faces any true consequences for ignoring the issue.

She carries on believing in her fantasy version of Frederic, even as he continues to do harmful things, and the narrative just rewards both her and him for it.

There Should Have Been an Episode Showing the Audience Varian’s Side of the Story

What happened to Varian in between Queen for a Day and this episode is told only through context clues. Nothing is stated outright, meaning the audience has to rely too heavily on inference and are left to piece together what happened on their own like a puzzle. That’s poor writing.

Even something as simple as ‘how much time has past’ (its three months btw, S1 is six months long and QfaD is the meant to be the midpoint) is left up to the viewer to keep up with rather then being clearly stated. This is made even harder to do by the marketing team showing most of the episodes out of order.

You need to clearly relay information to your audience. That means repeating said information in a variety of ways over the course of the story. Have those context clues, but also have more overt hints, and direct reveals interspersed along with that. Especially when dealing with the motivations and goals of the character driving the main plot.

Even if you attribute the lack of a Varain episode to the ‘twist’ in this one, (a twist that was revealed in QfaD anyways) there’s still no excuse for why we didn’t get a flashback episode afterwards to fill this hole in narrative out.

Don’t Pretend Ignorance Rapunzel

Nigel literally repeated the rumor to her face last episode. She knows her father is lying about the rocks and attacked her for the scroll. She knows from the letter that those same guards were chasing down Varian for said scroll. She knows about Corona’s laws and what would happen to Varian if the guards caught him.

There is zero reason for her to be acting like this is new information. Let alone have any right to feign concern after three months of ignoring his plea for help.

That’s what I mean about the series not communicating clearly and wanting the audience to take things at face value. The show deliberately has the characters say things that contradict established events to try and get the audience on their side.

The episode is trying to telling us, ‘See! Rapunzel is innocent in all this cause she didn’t know, but she’s trying to make up for it now’. Yet, if you’ve been watching and paying attention to the details, you know that’s not the truth here.

Good writing is about communicating ideas to your audience. But this show can’t decide on which idea to communicate. Is Rapunzel at fault or no? You can’t have it both ways. Either she screwed up and thereby caused the conflict in question now or she didn’t. If she didn’t, then events shouldn’t progress like they do. If she did, then it needs to be acknowledged and she needs to held accountable by the narrative.

More Hints into Rapunzel's True Motivation

I can’t stress this enough. Rapunzel’s reasons for stealing the flower has nothing to do with Corona. That is an excuse. It’s about trying to find out what her Dad is hiding from her and why he’s lying to her. This comment right here is what compels Raps to go along with his plan.

Also...

Varian Isn’t Lying Here

I also want to make it perfectly clear that Varian is being upfront with Raps. He tells her his plan is to steal the flower and why. She’s the one that makes the assumption that this entails them only taking one petal and the assumption that ‘all our problems’ only means saving Corona. Even though saving Corona and saving Quirin are the same problem. (more on this later)

It’s important to understand Rapunzel’s thought process and her true motivations in order to make sense of her actions later in the story.

Rapunzel’s internal conflict is her need for autonomy versus her fear of rejection. The ‘for Corona’ and ‘one petal’ excuses are used because she thinks they’ll play well with her Dad. In order words, they’re reassurances to her that should she get caught and have to face her father’s disapproval then she could counteract his arguments with his own belief system about ‘putting the kingdom’s needs first’ and ‘following your own inner voice.’

And yes, both Rapunzel and Frederic are big fat hypocrites for this, but Rapunzel hasn’t acknowledged that fact to herself and is trying to convince herself throughout the episode to believe in her own excuses.

Why Do You Care About Treason Rapunzel?

For context, treason is the highest crime in any country. It’s punishable by death, even in the real world. Now each country has its own legal definition of what constitutes as treason. Here in a America, in Article III, Section 3 of the United States Constitution, treason is specifically limited to levying war against the US, or adhering to their enemies, giving them aid and comfort. And only during a time of war. Legally, a time of war has to be approved by the US congress. Technically, congress hasn’t declared war since World War II. This is why certain people haven’t been convicted of treason like acts both in, and out of, later US conflicts because the definition is arguably too narrow and specific. But it’s intentionally that way to help prevent false accusations and to keep people in power from murdering their political opposition.

Before the US, treason just meant opposing the ruler of the land in any way. The founding fathers committed treason just by signing the Declaration of Independence. They all would have been executed had the US lost the revolution. Here in Corona, that old definition still stands. Simple theft of royal property, a non violent act, is considered treason and we already know it’s punishment. Eugene stole royal property and was almost hanged for it in the movie.

Now Rapunzel though, she is royalty. This stuff she’s stealing is technically her own property. She’ll inherit all of these things once Queen. Moreover, we all know that Frederic wouldn’t harm Rapunzel let alone kill her. She’s not in any real danger here. So why does she care?

Remember that Rapunzel’s internal conflict is personal autonomy versus her fear of rejection. She only hesitates in her pursuit of answers when reminded of Frederic’s possible disapproval. That’s why she stops under his frowning picture to say this. “Treason” only means possible rejection or disapproval from her father. The worst thing she faces is another argument with him.

Meanwhile, Varian’s life is very much at stake here. He is risking everything, quite literally, to save his father. But his life was arguably forfeit as soon as Frederic decided he wanted the scroll. What’s to prevent the king from claiming that as his own property even when it’s really not? If he’s already sent guards after Varian and the scroll then that’s precisely what he’s already done.

The series is acting like Rapunzel is the reasonable one here because she questions stealing, but the reality is she’s being selfish and willfully obtuse. Multiple lives are at stake here, including the one of the person she is talking to right now. Breaking the law, defying her father, in order to save those lives shouldn’t even be in question at all.

Corona and Quirin Aren’t Conflicting Interests.

Quirin and Corona are both facing the same problem. Solving one will inevitably mean solving the other. Any distinction between the two is solely created within Rapunzel’s own mind.

She does this to to hide her true motivations and conflict from herself. The show does this to try and villainize Varian over Frederic.

There’s a clear bias in who the series wants you to root for and so it skews the perception of what’s actually at stake by creating a non-existent competition between Quirin’s life and the country’s safety. Even though Quirin, Varian, and Old Corona are all apart of the kingdom. They’re all Rapunzel’s and Federic’s responsibly too. Saving Quirin’s life should be more than reason enough to steal the flower on it’s own.

But this is ‘Rapunzel’s show’ and according to the creators, that means that her personal feelings are more important than actual human lives. Not really, but that’s their mindset and approach to conflicts in the show.

Rapunzel’s True Motivation is Revealed

So we’ve followed the hints, but here it is stated outright. This was never about Corona, the rocks,Varian’s safety, nor Quirin’s life. This is about her need for autonomy. Her own personal quest for assertiveness. She’s been bullied and abused by two steprate parental figures now and she’s growing tired of it. Which is understandable and valid, but it shouldn’t be made more important than everyone else’s problems. Everytime Rapunzel says ‘for Corona’, she really means ‘for herself.’

Rapunzel Shouldn’t be the Only Person Solving the Obstacles Here

Varian is just as smart as Rapunzel, if not smarter. This has been established throughout the show both before and after this episode. Meanwhile, Rapunzel is more physically adept than Varian. This whole sequence in the tunnels should have been both Rapunzel and Varian teaming up and complementing the other’s skill sets. They need to be on equal footing in order to sell their conflict later on. But the show deliberately down plays Varian’s competence in this episode in an effort to make Rapunzel look good.

‘Girl power’ shouldn’t mean making the character perfect. It especially shouldn’t mean making other characters weaker in comparison. Women want equality. That means we want to see female characters treated as people. That means we want female characters to be flawed while still contributing to the plot same as the male characters. That doesn’t mean we want to be paraded around as the only competent person in the room. We want to be on the same level as the boys not above them.

Over idealization and glorification of ‘strong’ female characters is just as problematic as damsels in distresses.

Writers like Chris Sonnenburg grew up during the heyday of Third-wave Feminism. Right on the cusp between second-wave and third-wave points of view as women really started to challenge Hollywood’s portrayal of themselves as homemakers and love interests. They wanted to be the heroes for once. Starting in the 60s and reaching pick popularity in the 70s and early 80s, film makers responded by making female characters who could physically fight but either failed to give them any sort of depth and/or made them the only archetype available.

Chris, and several other male writers who lived during this era, have internalized this approach by default without actually examining how it came into existence nor why women would no longer be satisfied by this portrayal of them, if they ever were. All we’ve done is trade one stereotype for another, as male creators fetishize what was once meant to be an attempt to empower ourselves.

Had Chis actually brought more female writers onto the show and listened to the criticisms from his female crew, he could have better avoided problems like the one above. But instead he dug in his heels and insisted that he already knew what we wanted. He doesn’t.

Why Would You Assume This Eugene?

Varian hasn’t actually done anything wrong yet. His worst crimes are drugging people with a magic potion, which is what Xavier did without consequence only two episodes ago, and attempting to steal a magical healing flower that the king has been hoarding from his subjects anyways. A king who has been persecuting Varian unfairly and they know this because of Quest for Varian.

Eugene of all people should be sympathetic towards Varian’s plight. He’s been there himself. He should also know that the rumors about Varian attacking Rapunzel are untrue because Raps told him about the events of Queen for a Day herself.

Meanwhile Cassandra was actually there. She knows Varian’s problems and is supposedly his ‘friend.’ She has even less reason to be hostile towards him.

But once again, the series has the characters respond to things that contradict established events in order to create a bias in the audience. “See, Eugene and Cass doesn’t trust Varian and neither should Rapunzel. See, how evil he really is?” It tries to tell us. In order to convince us to excuse Frederic’s behavior so that when the series does just that through Rapunzel choosing his side we’ll be on board with it. You know, unless you have been paying attention, already have a developed moral code, and the reasoning facilities of an adult.

Rapunzel Lacks Empathy

Keep in mind, ‘for Corona’ really means ‘for herself’. The only competition between Quirin and the kingdom is one that she’s fabricated in her own mind. Varian not caring about the island punctures holes into her excuses. Even though Varian is a fourteen/fifteen year old who holds no responsibility for the safety of a whole country. Especially one that’s mistreated him. Of course his father’s life is going to be more important to him.

What Rapunzel is really asking here is, “Why don't you care about what I care about?” “Why aren’t you concerned about my feelings over your own?”

Which makes sense for her character. She’s a woman who has been trapped in a tower her whole life. She lacks the experience needed to be an empathetic person. She’s never had to grieve before. The only permanent death she’s known is that of her abuser. Her trauma over nearly losing Eugene and Pascal was the fear of loss, not the actual process of living without someone. Rapunzel has no framework of reference in order to truly understand what Varian is going through.

Sympathy is feeling sorry for someone. Empathy is understanding how a person feels. Rapunzel may be a sympathetic person but she’s not an empathetic one and there’s a difference between being ‘nice’ and being kind. The show presents to us a woman who needs to learn that difference. The problem is that she never does.

This is actually a brilliant conflict and point of characterization. It’s taking what we already know about a character and expanding upon it to give us believable flaws that impact the story. I actually like this conflict. I like this portrayal. I initially preferred the series over the movie because of this.

I want Rapunzel to be flawed. I want her flaws to to inform the plot. I want to like her as a character. But I can’t. Because the show never acknowledges these flaws, never has her grow as a person. She remains unempathetic and selfish till the end even as she gains more experience, and the show acts like she is justified in hurting others.

This exchange is the quillivant of a rich person who donates money to environmentalist causes trying to shame a poor child for daring to ‘waste water’ in order to take a bath, even while ignoring their own factories spewing pollutants into the local river. The show tries to claim that classism is okay so long as it’s perpetuated by the creator’s favs.

Varian is in the Right

First off he never claimed that he was only going to take one petal. Rapunzel just assumed that. Also, he’s right there is no difference. Once again Rapunzel has fabricated a distinction in her mind in order to have an excuse to sell her dad. She only hesitates now because taking the whole thing means there’s more risk of getting caught and less possibility of weaseling out of punishment through deniability.

Never mind that Frederic doesn’t own the flower anyways. He stole it from Gothel first, outside of his land’s borders. Never mind that him taking the flower actually causes harm to others while stealing it back does not. Never mind that breaking a law to save a human life is not only justifiable but preferable. Never mind that the king is essentially hoarding medicine from the populace, thereby breaking the social contract of a leader towards his people and becoming a despot instead.

No, Varian hurt Rapunzel’s feelings so he’s evil don’t you see? He placed his needs above the main character’s wants and desires, ergo the series treats him as a villain.

Look, I’m not saying that Varian is without fault nor that everything he does is justifiable. But the show (and certain fans) goes out of its way to demonize the character even when he’s doing what’s actually morally right. This isn’t the point when Varian falls to the darkside, that’s yet to come, but it is the point where the series starts to play favorites with its characters at the expense of teaching coherent lessons.

Inconsistent Messages

Yes, how dare he do the exact same thing as Pascal and Max did two episodes later. Don’t you know, he’s the villain; even though he actually has more reason to use the truth serum than they did the mood potion.

The problem of centering so much of the conflict on Rapunzel’s personal feelings means that Rapunzel and the show has double standards for how characters are treated. Friends of Rapunzel gets free passes. Lack of friendship means you’re now the enemy and can’t be excused. Even though in real life that is what we call nepotism and an abuse of power.

Authoritarianism Vs Consequentialism

When you mention the word authoritarianism to someone they automatically picture in their head armed men in uniforms marching in the streets attacking innocent people on behalf of a dictator’s orders. Yet, that’s not what authoritarianism is. That’s fascism, which can spring forth from authoritarians gaining political power but it’s not the only manifestation of this philosophy.

Authoritarianism is the belief system that the ‘authority’ is always right, even when wrong. An authoritarian will find any excuse to follow and believe in their chosen authority even when that authority has failed them or others.

The opposing philosophy here is consequentialism. That’s the belief that right and wrong are directly linked to consequence. To their minds something is morally wrong if the action has a bad outcome for others.

To illustrate the difference let's look at a near universal rule.

“Murder is wrong.”

Now both the authoritarian and the consequentialist will normally agree with this. But the ‘why’ to them couldn’t be any more different.

To an authoritarian ‘murder is wrong’ because the authority has deemed it so. That authority can be anything that the anthoritian has personally chosen; God, the government, their parents ect. It’s completely arbitrary and subject to change on a whim. The authoritarian lacks consistency and conviction and will often have multiple chosen authorities that will contradict one another. If one of those authorities came out in favor of murder then there’s a strong chance that the authoritarian will change their position or belief as oppose to denouncing their chosen leader.

Meanwhile, ‘murder is wrong’ to the consequentialist because there are clear irreversibly bad consequences for doing it. It removes a life from the world. All possibilities for that person are now forever snuffed out. It hurts those left behind. ect. The consequentialist is consistent in their beliefs so long as the consequence remains the same. They can’t be swayed by mere orders. That’s not to say that consequentialism is incorruptible. A consequentialist can easily become a knight templar if they are forced to weigh consequences against each other. Then it becomes ‘murder is still wrong unless it achieves this arbitrary goal’.

In truth, morality is a sliding scale for most people and you normally hold more than one ethical belief system. However history has proven that authoritarianism is the more often dangerous and corruptible philosophy as it relies heavily on peer pressure, groupthink, and yes, abuse. Most authortians don't come from healthy loving homes. Either they were abused or are abusers themselves. When conducting studies on authoritarianism psychologists and sociologists use questions about parenting in order to pinpoint who is and isn’t an authoritarian as most people aren’t going to just come right out and claim we should go back to feudalism and the divine right of kings.

An out of control authoritarian is a bully with power. An out of control consequentialist is just a vigilante.

Frederic and Varian are the representatives of the two sides of these opposing belief systems and the representatives of what happens when people with those belief systems become corrupt. By having the main character choose between the two of them and siding with the her father, the authoritarian, the show is now validating this philosophy.

Breaking an unjust law shouldn’t be presented as a bad thing here. Blindly accepting Frederic’s rule shouldn’t be the end result of all this. Excusing his abusive behavior shouldn’t be the finale outcome of the story. There’s not a single thing that Frederic, and by extension Rapunzel, does that hasn’t been done by corrupt governments in the real world. Their reasons for doing so be damned.

Given the current political landscape and the increasing push to give real life anthortirans more power, this was absolutely the wrong message to put into a children’s show. It’s not that children will grow up to become authoritarians themselves by just watching the show, but it can condition them to go along with authoritarian abuse if they are now familiar the excuses abusers use to validate their actions. Especially, if they are already trapped in an abusive environment and are being fed these excuses by their current abusers.

I've already seen this toxic thought process played out by younger members of the fandom who are only just now forming their moral codes. “Accept what’ve you’ve been given.” “It’s okay, your parent (the authority) loves you and knows what’s best” “Hurting people is alright because they’ve been hurt you need to ofter up understanding”

NO!

Theses aren’t good lessons. These are the lies fed to you by abusive people. And the show repeatedly validates, justifies, and excuses both abuse and political corruption. Whether the creators believe this philosophy or not, they just approved of it anyways through their own incompetence.

Varian has Every Reason to Not Trust Rapunzel

This the third time in three months that Rapunzel has backed out of helping him. All for increasingly flimsy reasons. She’s making a lot of promises here but not offering up any concrete solutions. Remember she’s not ready to confront her father yet, and neither of them know that she’s the sundrop herself. So what is her plan here? How is she suppose to recuse Quirin and prevent Varian from being unjustly punished if she can’t stand up to the one person who is responsible for causing these problems in the first place.

Can you really blame Varian for going through with what he does here given how she has treated him thus far and would most likely continue to treat him? Yet that’s precisely what the show wants you to do because ‘stealing is wrong’ even though in this case it actually isn’t.

This is Out of Character

Once again, both Cass and Eugene have no reason within the current narrative to be so hostile towards Varian, yet. They’re only doing so now to create bias in the viewer. For Eugene this is especially out of character. I mean we’ve already seen Cass place her ambitions of above others people’s needs both before and after this, but Eugene is constantly written as the heart of the show. He’s suppose to be the most empathetic and caring person in the group, and yet here he is trying to arrest an orphan who’s only stealing to survive. Sound familiar? He of all people should be the first to defend Varian not attack him.

Excuse You, Raps!

You know very well what he is. He’s a child. A lost, lonely, grieving, and desperate child who’s been let down by everyone who is responsible for him including yourself. But far be it for the show to actually point this out by stating it plainly and show you for the self centered ass you really are.

Scenes Like This are Why Varian Should Have Been the Deuteragonist

His story maybe connected to Rapunzel’s but it doesn’t revolve around her. He has his own stakes and conflicts that happen to intersect or oppose with Raps given whatever point in the narrative we’re at. As such we gets scenes like this one in his lab where he is the sole focus and is pushing the story forward. No other character actually gets this.

Eugene’s arc has little to no bearing on the overall plot and Cassandra’s solo scenes in season three do nothing to further push the story nor give new insights into her character, as her given goal and motivation is too dependent upon Rapunzel herself to be shown separately.

Out of all the main characters, Varian’s conflict is the only one that holds enough tension to maintain a separate story line. He needs this focus in order to make sense of what's going on with the larger picture and to resolve his conflict in a satisfying manner. Had the the creators been smart enough to follow through with Varian’s story till the end instead of dumping it at the last minute in season two and hastily rewriting a half-arsed resolution it in season three, then we’ve could have gotten the Disney equivalent of a Zuko vs. Aang, Loki vs Thor, or even Duck vs Rue/Fakir arc. As is, we’re only left with the table scraps of several loosely connected stories none of which are very satisfying to watch.

Conclusion

I still like this episode and Varian’s arc overall but I can't in good conscience call it well written knowing now where it all leads to. Nor can I in could good conscience recommend the show knowing the awful morals it touts. And that makes me angry. Angry that I was fooled into thinking that this show had depth and maturity. Angry that I ever once held this show up as being good. Angry that I invested myself into believing that this show would finally give me a decent Disney anti-villain that I could like. Angry that trusted the creators not to be raging arseholes who made poor creative decisions based off of ego and questionable ethics...

I started this marathon so that I could vent my feelings and gain some closure, while also opening up a frank discussion about how bad creative decisions can lead to bad lessons in children's media. This show has many of the same problems as a lot of current tv series do but all condensed down into one place and there are things to be learn from that.However after this series of reviews are over I doubt I’ll ever watch the show again. It’s honestly not worth the time.

#varian #rapunzel #anti-tangled #anti-rapunzel #tangled #tangled the series #rapunzel's tangled adventure #review #character analysis

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raeynbowboi · 4 years ago

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Bob’s Burgers 10th Anniversary Retrospective

After ten years, Bob, Linda, and the Kids are just as delightfully wacky and endearing as they ever were, and show no signs of slowing down. So I wanted to put together an ultra mega review of the series. I’ll give an opinion on main and recurring characters, as with a cast this big, there’s been a lot of endearing characters to grace the show over the years. However, I will only be counting characters that have appeared more than once. After ten years, there’s been some real gems, and some real misfires. So, I’ll be counting down my top 10 best episodes, and the bottom 10 worst episodes. I’ll also go through as a Highlight Reel, by picking a best and worst episode of each season, as well as crowning the Best Season with the most good episodes.

Bob Belcher

Honestly, Bob was a very easy character to mess up. He’s the straight man to his wacky family’s antics. But the show does a really great job making Bob simple and lowkey without making him boring or a stick in the mud. He may be resistant to weird things, but he puts up with it anyway to make his family happy. While he’s the serious straight man, they don’t fail to give Bob his own eccentricities and quirks that make him relatable and funny in his own way. Whether he’s making things talk, getting weirdly excited about Thanksgiving, or his awkward way of speaking, Bob is genuinely a good and relatable character. It’s also nice to see that Bob is a great husband and a loving father. He and Linda argue from time to time, but they’re not trapped in a loveless marriage for the kid’s sake like most shows. And even shows where that’s not a selling point like American Dad, Bob shows more remorse for things like forgetting their anniversary than Stan does for Francine. Bob is supportive, loving, and forgiving. Which is just amazing to watch. The times when his kids really need him, he’s there for them, and he helps them through their problems. While Bob might fight with and get mad with or annoyed by his family, Bob never treats them like people he’s stuck with. Frankly, Bob blows most animated TV dads out of the water. I don’t think I’ve ever seen Stan or Francine give quiet supportive talks to Steve or Hayley ever in American Dad. Peter used to at least try to be a decent father, but now is a negligent toddler. Likewise, Homer used to be a great father who cared about his kids, but later seasons have really stepped away from the family angle the Simpsons used to have. In a sea of adult animated families that are toxic and destructive, Bob’s genuine love for his family came as a breath of fresh air.

Linda Belcher

Linda is by far the best Adult Animation TV mom there is. For one thing, she’s funnier than Francine, Lois, and Marge combined. But more importantly, she’s not the butt of the joke when it happens. I can only really remember laughing at Francine when they make dumb blonde jokes with her, but Linda’s jokes come from her character. She could have easily been the gender inverted Homer or Peter, but the writers are careful to make her gullible, trusting, and goofy without making her a moron. When the kids do something wrong, Linda busts out the tough mom act and you genuinely believe that the kids are in trouble. She’s not faking it. She’s not off in her own little world. She’s a bit of a goofy dreamer, but she’s able to be the tough disciplinarian when she needs to be. Her relationship with Bob is also better than most adult animation wives. She’s more independent than the other housewives, and even though her job is working with her husband, it never feels like it robs Linda of her own power, autonomy, and freedom. But the best thing about Linda is that I think most people can agree, she has an extremely strong and charming personality that endears us to her.

Tina Belcher

I really wish I could say I liked Tina more. She’s a creative romantic, just like me. I should love her. But her monotone deliveries and awkwardness isn’t as endearing as Bob’s. I like her better in episodes like Teen-A Witch and Broadcast Wagstaff School News where she has a bit stronger of a personality. But unfortunately, Tina is my least favorite member of the Belcher family, which isn’t to say that I hate her, she just doesn’t shine as bright as the rest of her family. She’s just not very funny or interesting on her own. But on the plus side, at least I don’t find Tina to be annoying or terrible except in the rare bad episode.

Gene Belcher

Gene is the only member of the family that can regularly get my dad to laugh, and with good reason. If he wasn’t such a well of nonsequitor punchlines, Gene would probably be the worst member of the family, but boy howdy do those random jokes pick up the slack. Gene is genuinely hilarious, even if I’d only rank him above Tina in terms of favoritism. However, I find that most Gene-centric episodes to be lackluster or below average. I think Gene’s best episode is probably Y Tu Ga-Ga Tambien, but of the best episodes, none really come to mind that specifically star Gene. Gene is really better suited for a supporting role, and his times as the star showcase why comic reliefs aren’t the main character. They’re support characters for a reason. That’s not to say Gene-centric episodes are terrible. They just tend to range from about average to bad. Though Y Tu Ga-Ga Tambien is a pretty good one.

Louise Belcher

Bob and Linda saved the best for last because Louise is the breakout star of the show. Funny, interesting, and the focus of many of the better episodes, Louise stands proudly on the first place podium with Linda in 2nd and Bob taking 3rd place. I think Louise’s strengths are especially due to her standoffish and naughty personality, which has lent itself to a lot of good character growth episodes. Season 10 Louise seems a lot more mature than Season 1 Louise. I think Louise works because while she does often have clever or sneaky solutions to problems, they don’t forget that she’s 9, so unlike Stewie, her age does present hurdles and barriers to her schemes and plans.

The Best and Worst of Bob’s Burgers

#10 WORST: Pro-Tiki/Con-Tiki (S6e15)

Why couldn’t Warren Fitzgerald just put that $100,000 into advertisements or to help Bob buy better equipment for his restaurant? My biggest issue with this episode isn’t the episode itself, it’s that the ending makes no sense. Warren wants to help Bob because he has a form of riches Warren lacks, and Bob doesn’t want a corporate sponsor to make changes to his brand. But why can’t Warren just give Bob the money to make choices he wants to make? They could stay as business partners, but Bob doesn’t have to sacrifice his personal vision for the restaurant. It’s just really frustrating when they’re both being too stupid and stubborn to see the obvious solution in front of their faces.

#10 BEST: Teen-a Witch (S7e03)

One of Tina’s best episodes, as someone who had a goth phase myself and dabbled a tiny amount in ‘witchcraft’, this episode brings back memories of high school and the desire to make the world what I wanted it to be. But on top of that, Tina with a backbone is when she really shines as a character, mostly because it means her humor isn’t being derived from her being awkward.

#9 WORST: Live and Let Fly (S9e05)

Mr. Frond embarrasses the kids, and they team up with Up-Skirt Kurt to get revenge against his sister and Mr. Frond. I’m not a fan of Kurt, so I already don’t care much about his feud with his sister, but I also just find the episode kind of boring. I don’t care about Kurt, I don’t care about his feud, and the kids call off their revenge, so that ends up not mattering either. Even Bob and Linda’s side plot is only middle-of-the-road quality for Bob’s Burgers.

#9 BEST: Wharf Horse/World Wharf II (S4e21-22)

The very first two-part episode Bob’s Burgers ever had, the season 4 finale is a great watching experience. It has some fun songs, funny character exchanges, suspenseful drama, and some heartfelt moments. It feels like a short movie, and that’s a good thing for a two-part episode to do. Even Fanny and Felix are interesting villains. But even after everything Felix did, I don’t find myself loathing him in later episodes, and that’s a hard thing to accomplish.

#8 WORST: Tina-Rannosaurus Wrecks (S3e07)

This is the only bad Tina episode where the problem isn’t Tina herself. My biggest issue with this episode is more just the subject matter. Bob lies for insurance reasons about who was driving his car, and the entire episode is just Bob and Tina digging a deeper and deeper hole for themselves. The solution to the issue is clever enough to redeem the episode somewhat, but the majority of the watching experience is just kind of an awkward dance of watching these two getting tangled up in a web of lies.

#8 BEST: The Taking of Funtime One Two Three (S9e02)

Bar none, this is the single best ‘Heist’ episode of Bob’s Burgers, and it’s kind of crazy that Bob’s Burgers has actually built a repertoire to where I can make a list of ‘heist’ episodes as an archetype. This one feels the most like an actual heist movie, and the ending is legitimately clever and unexpected. But even more than that, if you’re paying attention, you can see the twist before the characters even reveal it. That is the kind of tight writing that makes the list for best episodes.

#7 WORST: A Fish Called Tina (S10e12)

Tina spends an episode trying way too hard to make someone like her, to the point that she almost humiliates a 4th grader in public just so she can live out some fantasy. It’s really uncomfortable and sickening to watch Tina do this. This will be a recurring issue with Tina’s low-point episodes. There’s nothing fun about watching a character make a complete idiot out of themselves by coming on too strong. It even makes me groan when Kaylie shows up in another Season 10 episode because I don’t want to have to think about this awful episode.

#7 BEST: Stand By Gene (S6e12)

Something about this episode really just brings back memories of my childhood. Memories of walking through the outdoors, just exploring and wanting to find things. The characters are funny, and Bob and Linda’s relationship is put to the test. Plus, I loved that for the entire episode, you don’t know how it’ll end. It really makes this a personal favorite and one of the episodes I knew had to make it on my list.

#6 WORST: The Grand Mama-Pest Hotel (S7e13)

Linda ruins things for Tina by being an overbearing annoyance. Are you noticing a trend with Bob’s Burgers’ worst episodes? I don’t like it when good characters make complete jackasses out of themselves in the name of ‘humor’. It’s not funny. It’s annoying and makes me dislike them. Thankfully, the worst of it is only in the latter half of the 2nd act and the entire third act, but Linda’s behavior just makes me cringe and ask why they had to do Linda dirty like this? It just puts me even more squarely on the side that Tina is entirely in the right and I don’t want to deal with Lind either.

#6 BEST: Broadcast Wagstaff School News (S3e12)

From Tina at her lowest point to Tina at her best, Broadcast Wagstaff School News is my favorite episode of the first 5 seasons. Tina’s funny and engaging, Gene is absolutely shining as Little Bob, and while Louise and Linda play supporting roles in this episode, they’re still funny as well. Plus, the mystery is a good one, and this episode is even referenced in later seasons.

#5 WORST: Mazel-Tina (S4e13)

Tina ruins Tammy’s birthday and steals her party. This is Tina at rock bottom. Tina is so despicable, cruel, and selfish in this episode that it reminds me that behind that creative awkward girl is a selfish brat who doesn’t care if she hurts other people if she can live out her fantasies. If other episodes didn’t rescue Tina from being so unlikable, I probably would hate Tina as a character entirely for her behavior in this episode.

#5 BEST: The Silence of the Louise (S8e02)

Movie parodies are some of the best, and The Silence of the Louise is the queen of all the movie parodies. When Mr. Frond’s therapy dolls are mutilated, and the school staff calls off the waterpark trip until the culprit is caught, Louise teams up with psycho Millie to figure out whodunnit. This is also one of the first time Millie wasn’t strictly an antagonist, and she genuinely felt like someone who could be Louise’s friend someday.

#4 WORST: Boywatch (S8e16)

Tina ruins things for other people by coming on too strong. The only reason this is ranked higher than Mozel-Tina is because in that episode, she just wanted to be at the party, and just kind of ended up as the star of the party and let it go to her head, whereas here, she is actively ruining things for other people in pursuit of her own delusions and fantasies. Tina has no desire to be a junior lifeguard, but cute boys causes her to behave like a troublemaker. She’s entirely out of character, and her teammates’ hate for her behavior is something I agree with. I don’t want to hate the main characters, so why does this show keep pushing to make Tina a nuisance who ruins experiences for other people?

#4 BEST: The Quirkducers (S7e06)

If the Silence of the Louise is the queen of film parodies, then The Quirkducers is the king. Not only is it a clever parody of The Producers, but it also has some damn good musical numbers, especially the edited end credit version. But it’s Tina’s song at the end that stands as one of my favorites of all Bob’s Burgers’ songs.

#3 WORST: Bed & Breakfast (S1e07)

If a Fish Called Tina is bad, then Bed & Breakfast is flaming garbage. Linda turns their apartment into a Bed and Breakfast, and Linda goes berserk when the guests don’t play into her expectations. This episode verges from below average to detestable as Linda goes insane and locks people in their rooms, and Louise drives a grown man to attack workers by preying on his fear.

#3 BEST: The Hauntening (S6e03)

This is hands-down the best Halloween episode that Bob’s Burgers ever made. This show turns out some amazing holiday episodes, and this is one of the best the Belchers have to offer. I won’t dare give away anything about this episode. If you’ve seen it, you know why it’s top of the heap, and if you haven’t, then all I can say is what are you waiting for? Delayed gratification has to pay off eventually.

#2 WORST: Every Which Way But Goose (S9e14)

Tina falls in love with a goose. Who smoked crack before writing this episode, and who huffed enough paint thinner to approve this episode for production? This is the absolute dumbest concept for an episode I have ever come across. Who thought this was a good idea? I can’t even pinpoint the flaws because this entire episode is just so flawed. At least Mazel-Tina and Boywatch enrage me. This just baffles me.

#2 BEST: A Few Gurt Men (S7e11)

When Mr. Ambrose accuses Mr. Frond of stealing his yogurt from the faculty lounge, the case is brought before student court, and Louise is tasked with acting as Defense Council for Mr. Frond. One thing Bob’s Burgers does well is mysteries, and this is a good one as Louise has to figure out a way to prove Frond’s innocence. This is just an absolute personal favorite. Every character is just on point, and I get excited when the episode starts to que up.

#1 WORST: Moody Foodie (S2e07)

Did you ever want to watch the Belchers commit a felony? Then boy howdy do I have an episode for you! A picky food critic responsible for shutting down restaurants comes to Bob’s Burgers. Bob messes up the order, and a visit to the critic’s house to get him to try his burger again leads to a hostage situation with the critic tied to a chair and gagged in his own home. Words cannot describe the depth to which I hate this episode. The entire episode feels dirty and vile. I feel the need to scrub my skin raw after sitting through this episode. The instant I realize that it’s come on, I skip the the next one. I have literally only sat through this episode once. This episode disgusts me. This episode has the main character, abduct somebody in their own home. Then they take a second hostage when a mailman delivers the guy’s package. Luckily, Bob’s Burgers has a lot of good episodes to make up for this one bad egg, but this episode enrages me to the point that if the family wasn’t so charming and endearing most of the time, I might have stopped watching based just on this one episode.

#1 BEST: The Bleakening: Part 1 & 2 (S8e06-07)

The first time I saw these episodes, they played back to back without any credits in between them, and I thought it was one episode, and I didn’t even realize it was the length of two episodes. Between the amazing songs, the brain bending twists, the creative creature, the dark elements that contrast the bright lights of the holidays, and the uplifting ending, this pair of episodes stands paramount as the single greatest viewing experience that Bob’s Burgers has to offer.

Favorite Friend of the Kids: Regular-Sized Rudy

First appearing in Carpe Museum, Rudy came back in The Kids Rob a Train, where he has remained a friend of the kids since. Rudy was the first to join the kids if you don’t count Andy and Ollie who seem to dip in and back out as to whether they’re included in the friend group. Rudy was thus the first to be made a main member of the kids’ friend group.

Favorite Schoolyard Seven: Jocelyn

The Schoolyard Seven is the friend group of the three Belchers, Jimmy Jr., Zeke, Tammy, and Jocelyn. Not counting the Belchers, it was a close call between Zeke and Jocelyn. Tammy and Jimmy Jr. tend to be typecast as serving one niche thing, but Zeke and Jocelyn are often the comedic gold. However, while Zeke is more interesting of the two, I just enjoy Jocelyn too much to not give her the win. Even if Jocelyn’s humor is just a walking dumb blonde trope, like Gene, Jocelyn has a knack for funny one-liners. If the groups has another name, I’m not privy to it.

Favorite Friend of the Family: Micky

Though he’s less connected to the family now, Micky has been a friend to the Belchers since Bob Day Afternoon, and returning in Bob Fires the Kids. Since his introduction, Micky has gotten a job at Wonder Wharf, where he has remained since.

Favorite Recurring Villain: Logan Bush

First appearing in Ears-y Rider, Logan has been a fun and interesting frenemy for Louise to match wits with. In a show where most other villains are the same age as the main characters (Millie, Tammy, Chloe, Jimmy Pesto, Hugo) Logan stands out as a legitimate bully. Yet, even he was willing to work with Louise in Mother-Daughter Laser Razor, showing that there is wiggle room for the two of them to even join forces and spread havoc together.

Favorite Tina Love Interest: Duncan

Earnest if not a little awkward, Duncan seems like a sweet boy for Tina to possibly end up with. Sasha Whiteman is another character I could easily see being a good boyfriend to Tina because his quick wit and social graces make him a great foil to Tina, and he excels where Tina falls short. Zeke has a good chance to be a good boyfriend, but Tina still spits his name when she greets him, so I doubt she’d take interest in him unless something happens to change their dynamic. I liked Josh, but now that he’s said he doesn’t like her anymore and she agreed that she feels the same, I doubt we’re going to see them date further in the future.

Favorite Side Character: Nat Kinkle the Limo Driver

First appearing in Season 8 episode 8 V for Valentine-detta, I must not be the only fan of Nat’s because she made two appearances in the 10th season, in episode 1 The Ring (But Not Scary) and episode 17 Just the Trip. Currently with only 3 appearances, she’s still only a side character, but I get the feeling that like with Rudy, Courtney, Darrel and Alex before her, Nat will keep becoming a more frequent character. She just has a great vibe, and her charisma is intoxicating. She meshes great with the family, making her an absolute delight to watch.

Favorite Bit Character: Marshmallow

Although she’s appeared in multiple episodes since her introduction in Sheesh, Cab Bob, Marshmallow has never gotten much more than a couple lines, with her biggest role being in The Bleakening where she had more to say. She was also the first major LGBT+ recurring character on the show, which also made her a joy to see, whenever she returned to Bob’s Burgers.

Favorite Headcanon: Gene is Genderfluid

Gene’s jokes have been centered on his gender or sexuality since the first season finale. A joke once in a while is one thing, but ten years of the same sorts of jokes tells the sharp viewer that there’s more to it than just a running gag. With how many jokes have Gene talk about having boobs, synching his cycle, or calling himself Tina and Louise’s sister or Bob and Linda’s daughter, it’s my opinion that Gene is genderfluid, or possibly even transgender. The only reason I say genderfluid over a transgirl is because he still also addresses himself as a boy or a man as much as he does girl jokes.

Best Song: Twinkly Lights (Ms. XXX-Mas)

Not only does Toddrick Hall absolutely kill this performance, but I also love the meaning of the song about POC inclusivity and pride in the LGBT+ community. As the final song in The Bleakening, it’s one hell of a closing number, and I can’t help but dance in my seat whenever it plays. I’ve even listened to it independent from watching the show, and honor I don’t bestow on every song.

Best Episode Archetypes:

The Best Heist: The Taking of Funtime One Two Three

The Belcher kids have stolen a number of things. Chocolate, a bounce house, but the absolute creme de la creme of their heists is the procuring of the Dunebuggy from Family Funtime. When Family Funtime unplugs the macchines whenver the kids get too many tickets from them, the kids decide to pull off the heist of a century to make off with the biggest prize of the arcade: the dune buggy.

The Kids Tell An Anthology: Moms, Lies, and Videotapes

From the Gayle Tales to The Handyman Can, the kids have told a number of anthology stories, but the most impressive of the bunch is their stories of the mother’s day plays into three interesting stories. Though true to form, Gene’s is the weakest of the three, as his usually are. I don’t recall any time when his anthology was the best of the kids’, but then, Gene is not the most creative of the three children. His best story is probably in The Frond Files where his story’s world is colorful and fun to observe.

Best Musical Episode: The Bleakening

Not only do these episodes have a lot of musical numbers, but there is not a single one that doesn’t hit a home run. But more importantly, the entire episode is a musical, with each number helping to tie and bridge together the narrative, which is the entire purpose of musical numbers in a proper musical, which makes this the single best musical episode mainly because it’s the only episode that’s a true blue musical.

Best Holiday Episode: The Hauntening

With The Bleakening already taking the top spot for musical episodes, that leaves the Miss Congeniality of the holiday episodes to take the crown. I didn’t spoil anything about this episode above, and I won’t say a thing about it now. This episode is solid gold.

Best Film Parody: The Quirkducers

Not only is this episode clever in the way it uses its source material, but the family all have moments to shine despite the stars being Louise and Gene. The show also makes good use of the Schoolhouse Seven (the main group of the Belcher Kids, Jimmy and Zeke, and Tammy and Jocelyn), and each of them brings something great to the episode. It undoubtedly earned its place in the top 10, and will likely hold its place for years to come.

#bobs burgers #Bob's Burgers #belchers #the belchers #bob belcher #Linda Belcher #gene belcher #tina belcher #louise belcher #seymores bay

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captlok · 4 years ago

Text

Pacifism Isn’t A Character Trait

Or: MLK Day is Upon Us so Let Me Do You a Learn

Or: As An Aang Stan I Got a Bit Over-Zealous But Lemme Explain Why For A Hot Minute

Plus some History and Tumblr commentary that even non-ATLA fans can chew on

And by ‘hot minute’ I do mean this is going to be a long meta, so strap in. For those of you who just might be tuning into this debacle, I, a person who has not used Tumblr, much at all, except for the last half year, ran into some trouble.

If you wanna skip the whole TLDNR interpersonal stuffs and get straight to Why Aang is the Best Thing Since Sliced Bread, I will embolden the relevant parts, and italicize the crit of Korra, if you want that alongside.

I was excited that ATLA was seeing a resurgence due to the Netflix remake. I wasn’t even trying to apply any steep expectations for it. (learned not to do that the hard way with the last live action adaption, and to a much lesser extent, ATLOK, since it had good . . . elements, *ba dum tsshh*)

So, these are a couple aspects of the issue: (1) Even on the internet, I am extremely introverted and until recently mostly came for content, not socializing. My main online interactions thus far have been in forums and artist-to-artist on DA. Tumblr is still very strange to me because it splits up its ‘threads’ so you can’t see all the replies if a certain pattern of users responds in their own space. I’m not even 100% sure it’s in chronological order, and replies are not nested next to each other so you can look in the comments and someone will be replying to something you can’t see in that window. And also since it is a bizarre hybrid of a blogging system, posts are somehow considered ‘owned by’ or an ‘extension of’ OP in a way forum threads are not. (2) ATLOK was good in a cinematic and musical way, to be sure. It also had some good concepts. I can go into it just appreciating it for the worldbuilding and be somewhat satisfied. But the execution was terrible. I was on AvatarSpirit.Net for years, and If I had maintained my presence on ASN to current day and had gotten around to downloading their archive now that the forum is dead, I would include some links to other peoples’ detailed analyses on just how flawed both the plotting and Korra’s frustratingly flat learning curve was especially in the first two seasons. But, that is a task for another day, and only if people are interested.

No, what I’m addressing today, on the issue of Korra as a writing exercise, is how Mike and Bryan said specifically they wanted to make her ‘as opposite to Aang as possible’ and in so doing, muddied the central theme of the original ATLA series.

Now, again, I was mainly an art consumer for my first major round of ATLA fandom. Tumblr is an alien beast to me. But, after I write my first major Aang meta, talking about how amazing it is that he has the attitude he does, and how being content in the face of this overwhelming pain and suffering is an ONGOING PROCESS and an INTENTIONAL DECISION and not a simple PERSONALITY TRAIT, I start hearing that Aang gets a lot of hate from the fandom. Now this would be bad enough if it were merely people not liking his crowning moment of pacifism because they don’t understand the potential utility (I’ll elaborate on that in another post) or the ethics involved.

Aang is easily the most adult member of the Gaang. But he apparently gets hate for his few moments where he actually acts his age, a preteen, and maybe kisses a girl in a historical timeframe in which ‘consent’ discussions were probably nonexistent. Even in the present day, we are still practically drowned in movies that reinforce this kissing without asking trope. And even some female bodied people complain that asking kills the mood! But somehow he is responsible and reprehensible for this, even though the first time she kissed him back. I’m only going to get into the pacifism discussion today, but that was just another layer of annoyance bouncing around in the back of my head. Other peoples’ crit of Korra that was stewing in my subconscious, plus this Aang bashing, which thankfully I had not directly read much of, made up the backdrop of gasoline for the match that set it off. Even that seems a pretty melodramatic way to phrase what I actually said, which was: Aang, on the other hand, lost dozens of father figures and was being steamrolled by Ozai who was gloating about genocide TO HIS FACE, yet he still reigned in all that quote, ‘unbelievable rage and pain’ (The Southern Raiders). We Stan Aang, the Superior Avatar. No I did not f**king stutter. #AangSupremacy In another meta, someone complained that I was too defensive of Aang as a character and didn’t apply literary analysis enough, which I quickly rectified.

What set this off? Someone was kind of indirectly praising the line from Korra, “When I get out of here, none of you will survive” To them it was emotionally resonant or whatever, and I have to point out that no, it was a martial artist not having control of their state of mind, as is the bedrock of the practice. It was never addressed by the narrative, which is a severe oversight. I had a conversation with someone in the chats, making this distinction between Korra’s character traits and life philosophy. If she were to kill people while enraged and she was fine with that, that’s one thing. But if she regretted it, that’s a whole other kettle of fish. People argue that she comes from a warrior culture, unlike Aang.

Never mind that warrior monks are a thing. That’s what Shaolin monks are. You can be a pacifist and skilled at fighting. Those things are not mutually exclusive, which is the whole point of Bagua, Aang’s style. And also, Katara’s style.

That’s one reason I like Kataang so much- their congruent styles. Both of their real world martial arts are dedicated to pacifism, even though ATLA specifically doesn’t spell that out for Katara and her learning arc.

There was a meta where someone briefly tried to argue that knowing “martial arts” is against pacifism. No. Quite the opposite. I’d argue that you are not a true pacifist unless you know exactly how to handle yourself if someone attacks you. If you are not in a position to make conscious decisions about how much force to use, rather than merely operating on survival instincts, that is not pacifism. Or at least, not any energy or effort towards pacifism as a practical everyday tool. I’ve made a few attempts to learn some tai chi and aikido, and it’s improved my physical and mental health, but some other things have gotten in the way. #lifegoals

I’m not going to tag the unfortunate soul whom I was replying to, because they’re probably tired of all this, but I’ll be sending them a PM to say that I’ve made this into a different post, because as I mentioned before, threads are somehow considered “owned” by OP, so it’s been pointed out to me that I should separate it. I also said, I have basically ZERO respect for Korra uttering violent threats when the writers already minted a far more emotionally devastated and yet still resilient and centered character earlier in their franchise. People always try to excuse away people who genuinely like Aang more. As if it’s just nostalgia or whatever. For me, no, it’s absolutely not. It is respect for a character who stands toe to toe with real people who are kind in the face of overwhelming injustice. (I have another meta on that).

Both OP and people in the chats try to make excuses that she wasn’t raised as a pacifist, and that would be fine if they had addressed it with Tenzin and she had stated outright that she was rejecting pacifism and mind training. As it is, we are left with this nebulous affair where the lines between ideology and personality traits are blurred.

We are told she “has trouble with spirituality” but what does that even mean? Does she have trouble with focus? Does she have trouble relating to the canonically real spirits? And pacifism specifically nor inner peace that it flows from is never even talked about as an extension of spirituality, which is canonically tied to airbending.

“Aang didn't have to deal once with the loss of his autonomy in atla” OP claims.

This was after I had noted that Aang was getting kicked around by Ozai and was most likely going to die. Similarly, someone in the chat rejected the idea that a 12 year old trapped in a stone sphere that is heating up under a cyclone-sized blowtorch feels powerless.

Sorry but that’s flat out ridiculous.

No one wants to admit that both of these people were faced with similar situations, and when push came to shove, one showed his LIFE PHILOSOPHY through conscious effort, and the other was abandoning the basis of martial arts, which is, no matter what the situation, keep thinking. Hold the panic at bay. Non-attachment would have served her well in this situation. Tenzin should have told her this. Before, or afterwards. It should have been addressed in the writing.

People see this as “bashing” Korra, and oh well, can’t help that. If I think the writers didn’t follow through on their themes, that is my concern. OP said I was “offended.” No, not really.

I wasn’t offended by the post itself, or its commentary. Thought I made that pretty clear.

This is not dramatics. Let me be blunt.

As a ideological pacifist, and an actual practitioner of meditation, based on Buddhism, NOT just the fan of some show, I am for calling out writers who write one way from the survivor of genocide, and then stray from that ‘thoughtless aggression is immoral no matter HOW hurt I am’ to ‘let’s not address this character’s aggression in the narrative whatsoever.’ OP attempted to derail by accusing me of being racist or sexist against Korra. Also ridiculous. It honestly should have set me off more, but it didn’t.

Meditation is about reigning in your emotions. Managing your anger when it gets out of hand, and digging down to the roots of it. Being responsible for your own behavoir. Acknowledging ownership of your own actions. Not blaming anything YOU DO on anyone else or any circumstances in your life. Like an adult, or should I say, an enlightened adult.

Or at the very least, that is the ideal ypu strive towards while being imperfect in the present.

. . .

Now.

I’m going to quote a passage in a Google Doc of mine, even though I’d really prefer if you asked to read the whole thing, with context.

“What do humans do when it is necessary to, or greed makes a nation want to recruit?

They go to the army to get trained, right?

Granted, having someone scream and get spittle on your face is, in the grand scheme of things, poor preparation for having bullets whiz past your chest and grenades shatter your ears. And, what do you do to prepare you for the pain of getting your leg blown off? Hopefully, nothing. Like taking a test where you only got half the study guide. But, it’s about the most ethical way to go about it, right?

Not everyone even sees action. So any more more extensive mental preparation for physical pain than that, and you’d have people definitely protesting.

Well, as it turns out, pacifistic protestors themselves, if they were in the right time and place, also very intentionally do this type of mind training. Except, when they did it, they actually did sit still and took turns roughly grabbing each other and throwing each other down and in some cases, even kicking and bruising each other.

Turns out, those pacifists are, in some ways, more hardcore than the army.

Why is this?

Because a pacifist’s aim, unlike a unit, who wants to gain the upper hand in a situation, is to grit their teeth and grind their way through all those survival instincts, and totally submit.

In this, they aim to get the sympathy of the public, who clearly sees they are not aggressive, or a danger, no matter how much the footage is manipulated or suppressed.

In this, they hope to appeal to their attacker’s better nature.

Make them stop and think, wait a second, are these people a threat like we’re told they are? I’m attacking someone who’s letting me beat them up. Or a bunch of people. All forming a line, and letting us peel them off. Or sitting, and bowing their heads. If I’m on the ‘right’ side of things, the law, why am I doing this?

It’s not like a bully, who’s just a kid.” They’re more self-aware.

And might I add the situation influences a pacifist’s actions too. There’s no reason to let a single or a few random attackers beat you up if you can evade or disable without permanent damage.

Pacifism is a dynamic set of responsive actions informed by values. Not a proscribed set or a checklist.

But in terms of organizing against state power, and recording wrongdoing, which unlike during the Civil Rights can happen from all angles from smart phones nowadays, these are the motivations.

“So, the pacifist knows this, and that’s why they go through all that trouble of training themselves to, not only submit, but not turn tail and run, either.”

See, a character trait is something like being a morning person, or ways of handing information, or a given set of emotions a character feels. Once you cross over into actions, you must make the distinction of whether an impulsive character agrees with their own uncontrolled actions, or is embarrassed or remorseful. Those are life philosophy. Now sure, one type of person or character may be more likely to subscribe to pacifism, but there is no gatekeeping on what you have to feel or how you look at things. You can be easygoing, or feel all the rage in the world, but as long as you at least attempt to have a handle on those desires and feelings to where they do not cross into actions, you are still doing the work of metacognition, which is what martial arts and its accompanying mind training are for.

It’s what we see Aang do.

He’s informed us, during the Southern Raiders, on how much rage and pain he feels.

Pain points, TRIGGERS, that were directly struck at when Ozai gloated over him.

He joins with all the past Avatars for several moments, and just like every other time he is in the Avatar State, he is enraged. He wants to exact revenge on the unrepentant grandson of a baby murderer.

We see it when he turns his head away, face still screwed up in anger.

For another example, I could cite my difficulties in being aware and reining in my tongue sometimes. I know the roots of these issues and I seek to let them go.

It’s just that process takes way longer than Guru Pathik would have us assume.

In fact, I would even say that Aang’s portrayal throughout the three seasons is not strictly a realistic representation of at least the sad side of grief. I addressed that a little when I talked about real life figures. But what it IS, is a metaphor that cuts very deep to the heart of pacifism. As I showed in that Doc . . . There is no limit of suffering a pacifist is willing to go through, internal or external, for the preservation of peace.

This was demonstrated during the Civil Rights, and with Gandhi and all his followers beforehand, inspiring them. The pacifists’ method of swaying hearts is probably the reason BLM exists in such numbers as it does today. Will the types of narratives that correspond with their full stories of the way they collectively planned and trained for and approached conflict make it into fantasy media? I’d say, probably not. For a host of reasons.

It could be hoped for, I guess.

But we DO have Aang.

As for myself, whether speaking sharply is an “action,” per se is up for debate- certainly it doesn’t seem to violate the non-aggression principle put forth by the vision of a “stateless society.”

For another example, let’s take my explanation at the beginning. I am examining how circumstances affected my actions, and now am attempting to fix it, if indeed it needs to be fixed.

At least one person said that it not so much what I said, but how and when I said it. I don’t actually think I’ve said anything “wrong” per se. So I have to figure it out.

[I’m considering splitting up this next part into a second post, as it only slightly relates to pacifism itself and is just kinda some more commentary on Tumblr itself- Tumblr discourse, as it were]

[I’ll put more brackets when I’m done in case you want to skip this part as well]

An interesting social difference between Tumblr and other places is this command you often get, “don’t chat/reblog/message me back.”

This is interesting for several reasons. For chats and reblogs, other people may be following the “conversation,” so it’s actually pretty rude and presumptuous to tell a person not to respond to whatever you said, because other people watching still may be interested in your take.

In a forum setting, if someone involved in a conversation doesn’t have anything left to say, usually they just don’t respond.

This method would work perfectly fine for Tumblr, but for some reason, maybe its super odd format, probably due to the “ownership”/“extension of self” I mentioned at the beginning of the essay, people don’t tend to do this.

Now, in comment sections, sometimes you’ll run across an amusing sort of “mutually assured destruction” where two people both say this to each other. You’d better stop responding. Omg just give up. Why are you still arguing. Etc.

But see, no matter where this behavoir pops up, and no matter who starts in on it, those who do this usually want to have the last say on the matter.

Instead of merely not replying, they want to assert verbal control over the conversation.

Tumblr, in its weirdness, is also sort of like a mutant comments section. You can post comment section threads as your own post.

Which is one reason why I’m puzzled when people say ‘don’t read the comment sections’ when Tumblr is so popular.

I’m an oddball in that I browse comment sections for fun.

Probably due to alexithymia, I didn’t really comprehend the emotional toll it takes on many people, so the warnings to “stay out of comment sections” read to me like “hey don’t eat that dessert.” After I’m done with the ‘meal’ of an article or art, I like to see what lots of different people have to say about it. The fluff. Anything vitriolic I either blip over, or extract anything useful, or if I judge the person is reasonable enough, I might engage.

Sometimes I mis-judge on how reasonable someone is, and I shrug and move on after being cussed out or whatever.

In this, I suppose I succeed much of the time in being a verbal pacifist.

[But let’s get back to the more serious stuff.]

We’re talking about what is done in life or death situations, here.

For myself, I may in the near future be working more with dangerously mentally ill people. I’ve had a little exposure to it through various means. Nurses are obligated not to retaliate against patients, and those who have, have been fired in some situations. Again oddly, this is not primarily what triggers my anxiety. Unfortunately enough, this requirement has also resulted in nurses getting seriously injured and violated. I hope to influence whether “no harm” techniques such as tai chi and aikido and arm locks may be allowed. The voluntary philosophy I was luckily already on board with is enforced by bureauacracy, directly relevant to my potential profession.

Were someone to get involved in a dangerous profession, such as a police officer, their moral duty would also be to own up to any spur of the moment anger or fear they acted on.

It’s just that their bureaucracy acts differently, in excusing their actions.

Ideally, they would be taking steps far in advance, to avoid this often-cited fear of death reaction. As training pacifists like Aang do.

And yes, army people are trained differently than police officers because the army, often, even when threatened, is supposed to avoid engagement or deploy deterrents that are non-lethal almost all costs, unless ordered otherwise. Whereas American police are given pretty much complete discretion and often not taught de-escalation techniques. Even police from other nations are better trained in that regard.

Enter the ironically named @avatarfandompolice whose account description should really speak for itself. Combative, dismissive, and their attention-hungry bread and butter is to find people they think it’s acceptable to ridicule. They basically tried to say trauma was a valid excuse to take out your anger on other people, and in this situation, potentially kill.

Now, does this hold up in the real world? Yeah, sometimes. Especially if some law breaker or law keeper has not been given the anger management tools, they perhaps could be excused, or better yet, rehabilitated.

But especially if anyone finds themselves in dangerous situations, or intends to put themselves in such, it falls to them to do this preparation.

As an aphant, I am at a bit of a disadvantage, compared to an average martial artist, being unable to visualize an attacker. But I still attempt it.

As the main “police officer” of the world- the coincidentally blue clad figurehead that is supposed to keep order, it is apparently fine for Korra to not do the work Aang did to keep level. To blow it off as too much trouble: clearing the First Chakra of fear. For herself or others. And its resultant anger. Had she had access to the Avatar State, the authority figure pretty much would have killed people. This is what the “fandom police” and a certain chat goer ultimately support. Maybe they didn’t understand it that way, and since the second had blocked me, they will also never see this explanation. Unless I were to share it in Google Doc form I suppose.

So, I responded. “Remember kids, you are not responsible for your own behavior if you have the excuse that someone else did something bad to you.” A frighteningly common sentiment on this site.

When it’s low stakes like CAPSLOCKING or internet fights, that’s not such a big deal. But what happens if this attitude leaks into the real world? This isn’t even about Korra or Aang anymore, it’s about toxic mindsets. I didn’t know fans taking pro-Korra posts as anti-Aang was a common in the fandom. I’ll say again I’ve only just gotten really active on Tumblr like the past few months. This is about pacifism itself. MLK and his hardworking, training followers (yes some of them sixteen and POC and not super-powered like Korra) facing down firehoses and staging sit-ins long trained for would shake their heads at this defense of reactionism.

Pacifism is not a Personality Trait.

It is deliberate actions and preparation taken over a period of time.

Then the “fandom police” tried more of this, and these two conversations ensued, the comments with another user resulting in the title and main thesis of this essay:

https://captlok.tumblr.com/post/638777472806273024/avatarfandompolice-response-to-my-independent

https://captlok.tumblr.com/post/638806142933467136/the-plight-was-not-what-i-was-getting-at-it-was

#atla #lok #atlok #atla meta #pacifism #martin luther king #civil rights era #history #blm #mlk #mlkday2021

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thexfridax · 4 years ago

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Translated radio interview / transcript

Dance of the gazes and female desire

Susanne Burg, Deutschlandfunk, 26th of October 2019

// Additions or clarifications for translating purposes are denoted as [T: …]. You can listen to the interview (in German) here. Noémie speaks in English, but unfortunately you can’t hear most of it due to the simultaneous translation (or maybe you can if you have superhuman hearing). I’ve tried to combine the transcript with the recording where possible. Apologies, it gets a bit messy. //

‘Portrait of a Lady on Fire’ is about a female painter who is supposed to paint a woman, who doesn’t want to be painted. The film received the Best Screenplay in Cannes. Lead actress Noémie Merlant explains why this film is so special.

One of the films that has been talked about a lot in Cannes this year, in the queues, in reviews and finally at the award ceremony, was ‘Portrait of a Lady on Fire’. […] It is a period film, but turns many gender roles upside down and tenderly creates a utopia of liberated love.

[T: Omitted short description of film]

Interviewer: You play the painter Marianne, who is commissioned by the Countess to do a portrait of her younger daughter Héloïse. Héloïse refuses to pose. Marianne therefore has to study her face during the day and then paint her at night. Why did she even accept this commission? Does she think in the beginning, it is just a job like any other?

Noémie Merlant: She is a painter and is still at the beginning of her career. She wants to work and as a woman gets the opportunity to do so. At the time there were maybe around a hundred [T: womans 😘], who were painters. She is modern in the sense that she is and wants to work as a freelancer, [T: (as per recording) so she has to accept to work this way, in secret.]

--- [T: This bit is not in the recording for whatever reason]

I: She does that, she studies Héloïse’s face, they talk with each other. When does she start to feel guilty, because she is lying to Héloïse?

NM: I believe that she already feels a bit guilty in the beginning, when she accepts the job. This guilt is getting stronger, the more she feels for Héloïse. The more in love she feels, the more guilty she also feels.

---

I: How does their relationship change, when Héloïse finds out?

NM: [T: (as per recording) It changes everything, because then Héloïse accepts to collaborate,] she accepts to sit for the portrait. From this moment, it is about the collaboration of two women, and the love story can really begin. They collaborate on the same level, the gazes are horizontal. The concept of the muse is reinvented in this film – Héloïse is not a muse, [T: (as per recording) she is a collaborator. So this starts at that moment.]

I: Héloïse has a very strong opinion about Marianne’s painting. And Marianne is also not very happy about the result of her work at first. Why is that?

NM: Marianne has the opportunity not to marry, but to pursue her passion as painter. But she is stuck, she hasn’t really found her art. She is trapped in the constraints of a commissioned painter. But when she starts to collaborate with Héloïse, when Héloïse practically opens her eyes, that is when Marianne realizes she has to be sincere with this portrait, in this case it means the intimacy and shared moments of these women. Héloïse has found her way back in life, [T: (as per recording) and Marianne is back in life, too, so it’s easier for her to find the kind of truth in the portrait.]

--- [T: This bit is not in the recording either]

I: I read that the director Céline Sciamma was inspired by the painter Hélène Delmaire for the character of Marianne? How much did you look at her art as preparation for the film?

NM: It was important for me to closely observe Hélène at work, to absorb the gaze of the painter. She has a certain kind of gaze that all painters have somehow, when they work – how she looks at something that she paints and then at the canvas. I had to adopt this gaze, the eyes of a painter. I also observed her rhythm at work, her gestures and all the technical steps to create a portrait. You can see in the film that the portrait is reminiscent of modern art at first, the light, the shadows, how it’s built piece by piece. I find it important to understand this right from the beginning.

---

I: The dresses in the film are quite impressive, in my opinion. And they are also quite important for the protagonists in the film. How much does the dress, which you wear in the film, characterise Marianne?

NM: [T: (as per recording) This dress got pockets. It’s true at that time there were pockets,] but these were banned later on and disappeared from the dresses. These pockets were a step towards autonomy for women. As a painter these pockets are important for my character und also influence her gestures. There is also a cape that was made for the character of Marianne, it is more of a masculine cape. This dress, the pockets and the cape also helped me to get into the spirit of the character. Same for the fact that the dress with the corset was quite tight and heavy. The film also gives an idea how oppressive these social forces were, and with the heavy dress I could directly feel these restrictions. During the course of the film [T: (as per recording) the costumes get less (tight), and we smile more, we feel more, we desire more. And so the costume helped (with) that.]

I: It is a story about love and art, which takes place in the 18th century, but it also feels quite contemporary. How did the idea that the story is also saying something about the present time influence your interpretation of the role?

NM: [T: (as per recording) When I act, even if it’s in the 18th century…] I don’t think about these things, when I act. There are of course the costumes and the text that cannot be changed, but when I act and when Adèle acts, then we act together and are fully in the moment, we create that moment. But when I read the script for the first time, I was [T: in the bathtube] captivated by the film. This story has been missing so far. The stories of female painters were erased historically, and cannot be found anymore. Stories about women and the female gaze have been missing. There are only those with the male gaze, which became the universal gaze. [T: (as per recording) … it was really strong because it was necessary to share this (story) and give back this expression to the womans (sic), you know.]

--- [T: This bit is not in the recording either]

I: How does the atmosphere change on set, when it is mainly women working there?

NM: There are almost no men in the film. There are a lot of films with only men, but we don’t realise it. That is normal. This film is a kind of invitation for women and men to look at women as they are. We were indeed mainly women on set. It was different in the way… we were not necessarily freer, but maybe more ourselves and less intimidated, and there was just this horizontal gaze between all of us.

---

I: Marianne and Héloïse talk a lot with each other, but there is also a lot of non-verbal communication, especially when they start to fall in love with each other and which must take place in secret at first. How did you work on the non-verbal communication between the two of you?

NM: [T: (as per recording) Yes, the silence (is) a big part in the movie.] It was also all in the script already, the gazes, the gestures and so on. But we worked a lot on the details. An important detail is the music. There are only two pieces of music in the film. It was very difficult to listen to music then, it was predominantly silent. And when you then hear the music, you immediately thought ‘Wow!’ – this could also be conveyed through the volume. It is the same for the gazes, the touches and the silence between Héloïse and Marianne – all those details were already written down, but it is about how you fill them out, how you adopt these, and what you put in.

Adèle has for example suggested a gaze, and it was always a different one, just like this, or with a smile. So it was a surprise, because I didn’t expect it. We worked on finding our autonomy in these. And even the breathing is important in this film. It influences every scene and their rhythm. If you finish a scene with an inhale or exhale, it changes everything. [T: (as per recording) That was great and really interesting, we were working on holding back, you know.]

I: You are in each scene of the film. What does that mean for your preparation and work?

NM: [T: (as per recording) Yes, it is exhausting, because you] have to be present the whole time – it is not about not losing control, that can be good sometimes – but to constantly be mentally present is more exhausting than being physically there. We didn’t work chronologically. It is important that the audience notices how my character and Héloïse’s change during the course of the film. And because we didn’t work chronologically, we had to carefully prepare each scene at the kitchen table, and carefully check where we are in the story, in the relationship, in the work.

In the beginning we both kind of wear a mask, we don’t show much of us, we are reserved and shy. And piece by piece, we open up a bit more. The eyes, the smile, the mouth, the dress, everything is more open. [T: (as per recording) So I had to really stay focused in each scene, where am I at that moment.]

I: You worked quite intensively on this film and it was then in competition at Cannes in May. How is it for you to see the film and yourself on the big screen?

NM: [T: (as per recording) I have a mix of feelings.] I am happy, because I love this film, it is great and I am proud of it. On the other hand, I always find it difficult to see myself or to hear my voice, [T: (as per recording) but I try to forget that and you know, appreciate what I see.]

Picture sources: [1, (c) Stephane Cardinale - Corbis/Corbis via Getty Images], [2], [3, NEON], [4, Joel C Ryan/Invision/AP]

#Deutschlandfunk #Noémie Merlant #Portrait of a Lady on Fire #PoaLoF #German interview #October 2019 #I don't know what was going on with the transcription here #Messy #But it's lovely to hear her voice #My translation #long post

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tolcnsky · 4 years ago

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Re-watching X Men: Evolution as an adult who is pushing 30 was pretty eye-opening for me, and not just because I now know that high school is not nearly that exciting and that basically everyone in that show was out of dress code all the time. The two big things that I noticed this time around both have to do with Professor X and his Institute.

Let’s just say the man has a very “hands-off” method of dealing with children, which leads to problems, but also (and I’m just speculating here): I think Professor X doesn’t take on poor kids? Like, does the Institute have a tuition fee? Because I couldn’t help but notice that all of the kids in the Brotherhood, with the possible exception of Pietro and Wanda (does Magneto Money convert to American dollars?), are not well off.

And I’m not trying to find fault with our favorite Bald-Ass MotherFucker (the BAMF, as I have suddenly decided to call him), but I call it like I see it and unfortunately what I see of his attitude toward The Brotherhood is…let’s say it’s not what you would want in someone whose life’s pursuit is to help and educate children. And in this show, The Brotherhood are, you know, children. I know any teenage readers may disagree with me on this point, but it’s true. The oldest among them is maybe eighteen, and the youngest is fourteen or fifteen, so they are no more mature or capable of making decisions than any of the show’s protagonists.

As an example, let’s look at Todd, whom Professor X tests in the very first episode in…honestly a really weird and deceptive way, by having him fight his other new student, Kurt, and giving neither of them a heads up about what the hell is going on. Then, when this (again) young kid flees in terror after being accidentally teleported into the room full of lasers and saws, aptly called the “Danger Room”, BAMF’s just like: ah well, he wasn’t ready.

WHO could have been ready for THAT? Also, is not being good at fighting really a good reason to not accept someone to your school where you’re going to teach them to fight anyway? You couldn’t take him aside like a normal person and go: hey, here’s what we’re about at the Institute... Nope, just send Storm at him with no context, that works. Oh, well, at least it was nice of the Professor to stop Wolverine from mercilessly shredding a fleeing teenager with his knife hands, right?

And then, just to pour salt in the wound, in the final episode of the first season, when Todd actually does prove his skills in combat by doing more than about half the core group of X Men did in the same episode, Professor X is like: Alex (who almost got us all killed just now) is always welcome at the Institute 😊 Oh, hey, The Brotherhood, do you kids need a ride back to your dilapidated house, where you live with no adult supervision*, or do you think you can walk home from here?

Now, I’m not saying that our dear BAMF doesn’t care about The Brotherhood, but I am saying that his hands-off approach to teaching valuable life lessons is, uh….well it just sucks.

His problem with these kids seems to be that they lack discipline, have attitude problems**, are just annoying etc. but, my man, is that not why you keep Wolverine around? To be an authority figure? I know you want to value these teens’ autonomy but I think their well-being should outweigh that. At a certain point you should really insist that they have somewhere safe to live that has things like *checks notes* uh, food and running water. Good thing you let them make their own decisions, Professor!

For real, can you imagine being any of Tabitha’s family who aren’t her jailbird dad and calling to check in and finding out that she got upset and ran away to live unsupervised with four teenage boys and this BAMF just let her do it?? I would lose my shit and no amount of calm assurances that it was her decision would make me not lose my shit. The point here being that there is a vast difference between encouraging kids to make informed decisions/allowing them to have agency, and allowing them to make decisions that have potential to ruin their life or, at the very least, make their life much more difficult than it would be if you were to say: “we can talk about your problems and work them out, you don’t have to live in a house where the water gets shut off.”

Yeah, did I mention that the water at the boarding house gets shut off at one point? It happens one time but I think it’s worth mentioning because it joins my two points. The first point being what I just said about Professor X being lackadaisical when it comes to the well-being of minors (who he deems too irresponsible to join the X Men, but apparently not too irresponsible to look after themselves), and the second point being: hey, Professor. Do you accept poor kids?

You thought I wasn’t going to come back to this point, well you were wrong, here it is!

In the show, it’s kind of a running joke that Todd has bad personal hygiene (especially in the first episode) and from a storytelling perspective this is to establish that he’s a sleazy type of character. However, there’s never really an in-universe explanation given and, as an adult pushing 30, I am left to assume that he’s been living below the poverty line, as I feel most of the Brotherhood have been. As a kid watching the show, I was just like: lol smelly, but as an adult who spent a lot of time growing up hanging out with kids like Todd who would wear the same clothes every day and rarely bathed because they came from less than ideal living situations, I have a perspective that the show’s target audience doesn’t have. Which makes Professor X’s apparent disregard for the Brotherhood troubling to me.

Now, you might be thinking: it’s not that deep. The Brotherhood is dirty and their house is a wreck and they don’t pay the bills because they’re just bad people,right? To which I say: that’s actually a worse interpretation, but it’s also what we’ve been trained to believe by the media we consume.

And I want to make it known that I’m not blaming the writers of the show or saying they’re bad or the show is bad, I obviously don’t believe that. I think it’s complacency rather than spite that has allowed this trope to endure so long. Poverty is uncomfortable to talk about, especially in a reasonably light Saturday morning show, so tv and movies have a habit of framing poverty as a personal failure of the people it affects. It’s not that these kids live incredibly difficult lives because of any tragedy of failure of the system, it’s just that they make bad choices and it’s their fault.

And if that’s how you engage with this show and interpret its characters, that’s fine, they’re not real people. However, I would like to caution everyone reading this to be critical of this trope when it shows up and not to let it affect your perception of real life and real people who actually are suffering, not through any moral failure on their part, not because they’re the “bad guys”, but because they’ve been abandoned by an unfair system, or they’ve fallen on hard times and been unable to find support.

And I guess that’s really what kind of bothered me in my recent re-watch of the show: that Professor X is someone who is fully capable of giving much needed support to kids with hard lives, but doesn’t do it because he hopes that leaving them to make uninformed decisions before their brains are even finished developing will somehow build their character.

* Even when she’s around, Mystique does not count as “adult supervision”; if anything she’s the reason these kids need therapy

**And by the way, I question the decision to look at Lance, an aggressive teen with dangerous earthquake powers and be like: that problem will solve itself if we ignore it.

#ooc #this gets a little heavy at the end but I thought it was worth mentioning #because I think this trope is insidious #LONG ASS POST

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stevetonygames · 4 years ago

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Spotlight Post: Canon Soulmate Bonds

Yooo, this is a blog takeover, Mizzy here, ready to champion one of my favourite fictional causes: canonical soulbonds in the Marvel universe.

We all love a good soulbond fic. Words on your body, names on your wrist, red string of fate...so many glorious versions, and all of them *completely awesome*. The problem sometimes with starting a soulbond fic, though, can be all the worldbuilding required to make it work. But what if I was to tell you that no worldbuilding was necessary? That you could technically write a soulbond fic without having to set it in an Alternate Universe? What if you could set your soulbond fic *directly in main canon?*

Marvel 616 delivers you a canonical soulbond mechanic… not once… but at least *twice*. There could be more. There’s a lot of comics to go through and I’m only smol. But here’s the two I know about and I’m here to introduce you to today. :)

The was a ripple of mild confusion around fandom when Kevin Feige announced that the Eternals were getting a title movie in the next phase of the Marvel Cinematic Universe. Created by Jack Kirby in the 1970s, in a wild combination of mythological fascination and spite at DC comics for not letting him finish his New Gods saga, the Eternals were an offshoot of humanity, created by the Celestials for humanity’s protection; this reason for their existence would lead them into their ongoing conflict against the deadly Deviants. There have been a few Eternals runs (notably one run by Neil Gaiman, which did not serve to bring the Eternals the commercial success Marvel was searching for with the title, that nevertheless remains the most fun and accessible Eternals volume), but they’ve not yet really reached wide-reaching traction among even the most die-hard comic fans. The MCU might change that, and here’s hoping, because I love these nearly-immortal idiots, and I’m hoping not to be alone in that for much longer. :D

But even my Eternals-happy soul has to admit, Eternals canon for the most part is dense and can be convoluted, and the spellings—both of their character names and one of the main fun parts of their existence, the Mahd W’yry—are enough to give one a headache. The idea of the Eternals is that they’re long-lived and have interacted with human history over the years in various impactful ways. You might think at first glance that you’ve never heard of the Eternals Sersi, Ikaris, Makkari, but I think you wouldn’t find Circe, Icarus, or Mercury unfamiliar names.

The Mahd W’yry is a symptom of the Eternals being so long-living. In order to stop them going insane, the Eternals have to bond into something known as the Uni-Mind, which basically squishes all their consciousnesses together into one, where they can share memories and blend temporarily into one mind. Regularly bonding into the Uni-Mind allows them to stave off the Mahd W’yry. (Yep, that’s just a headache-inducing spelling of ‘mad worry’, we know.)

Anyway, did you need to know all this? Eh, maybe, a little bit of canned backstory is always handy for you to briefly glance over and promptly forget. Because along with some dense mythological adventures, some glorious angsting across beautiful landscapes, and that ability to turn into a big massive floating brain, the Eternals also gave us a beautiful gift:

The Gann Josin.

In Avengers #361, Ikaris comes down to Earth and decides that Sersi needs to be bonded to Dane Whitman, an Avenger who canonically didn’t have any powers, he was just a *really good guy*, destined for tragedy. Honestly. That’s his bio. Really good guy. Destined for tragedy. The character creation in the 90s was peak talent. Dane, sadly, was in love with another woman, but did this matter to Ikaris? No. Apparently the Eternals don’t know about the dangers of letting himbos like Ikaris have life-changing powers, like the ability to create the Uni-Mind.

Because the power to control the Uni-Mind also gives an Eternal the power to form a Gann Josin bond. And that’s what Ikaris does in Avengers #361—he forces a Gann Josin bond on Eternal Sersi and tragic human Avenger Dane Whitman.

Gann Josin (sometimes Gan-Josin because what is spelling continuity in Marvel comics) is both the name of the bond, and the title given to an Eternal and their chosen life-mate. It has a bunch of cool side effects. Both Gann Josins get glowing full-red eyes. It’s a really intimate tiny form of the Uni-Mind (without the part where you become a big floating brain), and creates a small scale mental union. The Gann Josin bond makes the Eternal and their partner lifelong soulmates. As the bond progresses, it creates a telepathic/empathic bond that strengthens in time. According to the Eternal Sprite, humans are rarely chosen by Eternals for the Gann Josin.

Now, Dane Whitman does manage to break the Gann Josin several issues later. But… it’s not easy. It’s rare. When Dane manages it, it is called an “astounding act.” It’s pretty dang hard, in other words. There’s every chance your chosen Gann Josins won’t have the mental fortitude of Dane Whitman to break it. (Although, we’re talking about Steve and Tony, and are there any bigger stubborn idiots in the universe? Probably not.)

But Mizzy, I hear you saying. I don’t want to write about Ikaris, even if he is a party king and that sounds pretty nifty. I don’t know anything about the Eternals and I don’t want to go down that gnarly rabbit hole.

That’s totes fine, my friend. I am here to save you. Because in very recent canon, during Jason Aaron’s turn at the helm, the Eternals are all dead. Very dead. That whole Mahd W’yry thing got ‘em, it got ‘em good. But before Ikaris died, he granted his Uni-Mind power to someone we all know and love.

Yep. Tony Stark. Tony Stark currently has the power of the Uni-Mind.

Which means that Tony Stark can now Gann Josin people.

In Avengers #361, Ikaris performs the Gann Josin by basically just pointing his hands at Sersi and Dane and some light goes WHEEEEEEE!! in their direction, and bam, this rare and special bond is done. And Tony Stark can do that now. To anyone! Unfortunately Ikaris is dead and didn’t leave Tony with an instruction manual. But the point is, he *can*. You can make up all sorts of fun things with this canonical fact (or write your own version because lbr Canon Is Dead; Long Live Canon.)

There are so many possibilities. Does Tony deliberately learn how to use it so he can bond himself to Steve? Does Tony *need* to be able to hear Steve’s thoughts (to thwart some bad guys) and thus end up soulbonded forever to Steve in result? Is Tony’s power activating at random because he can’t control it, and he ends up soulbonding everyone around him? Does he just subconsciously bond himself to Steve without consciously meaning to? Do Tony or Steve want to try it for science?

Gosh, I love comics.

But WAIT. There’s MORE.

It’s not just 1990s comics going ham on the soulbond idea. No, we got some *this year*. Canonical soulbonding? TWICE? In one universe? Two different kinds??

And this time, it’s not in a D-list Marvel title. We’re up the ranks to the big leagues this time, folx, with a brief trek to the world of the Fantastic Four.

In Fantastic Four (Vol. 6) #15, we’re introduced to a Spyre citizen called Sky, a winged team member of the Unparalleled (more cosmic-powered superheroes), who work under The Overseer. (The Overseer, in a burst of beautiful retcon in the way Marvel comics keeps doing to us, is apparently the entity who is responsible for giving the F4 their powers. Huh. The more you know.)

On the planet Spyre, all children are brought before something called The Great Eye. This measures them against the radiation signature of everyone on the planet, divining who their perfect match is.

Sky looked into The Great Eye, only to find out her match was Johnny Storm, who was 44 light-years away at the time. Long-distance relationships can be tough. Anyway, plot happens, the F4 get stuck on Spyre, get told they can’t leave, and Sky tells Johnny Storm that she is his soulmate. Oh, and she attached a soul binding onto him while he slept. Neat, huh, all the bodily autonomy people get in this universe before being force soulbond to people? So neat, much consent, wow.

Johnny feels a connection to Sky, which is supposed to let us know this lack of choice is a good thing I guess. The Overseer wants Sky to renounce Johnny and crush the F4 which obv doesn’t happen, so of course she leaves The Unparalleled and skips off to Earth to be with Johnny.

Who knows how this relationship is gonna last. I mean, you can look at the rest of Johnny’s relationship history and have a good guess. Who knows. Anyway, Reed and Sue are each other's soulmate, and also share a “Soul Binding”, so there’s some canonical proof right there that maybe this system has some validity going for it.

The soulbond for this form takes the form of a golden bracelet worn on the upper arm, that Sky explains her people call a “Soul Binding”; it represents them as being soul-mates. This bracelet can only be removed by your soulmate. This soulbond doesn’t seem to come with any extra powers, it’s just to show that The Great Eye has measured their radiation signature and declared them a match that is supposed to mean they’re perfectly compatible in every way: spiritually, mentally, and physically.

I don’t know about you, but I have a pretty good feeling that Steve and Tony might just have matching radiation signatures… Or what if Steve and Tony have perfect matching signatures….with other people? (Someone else on Spyre believes Sky is *their* perfect match, after all!) What if Steve has feelings for Iron Man, but he’s a perfect match with Tony Stark? I feel faint already just thinking about it.

So here you go. Two canonical types of soulbonds for your fannish consideration. Feel free to ask me questions! You can find me on tumblr (@mizzy2k) or on discord (addy#0908).

#stevetonygames #mod post #spotlight post #soulmates

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loki-the-trikster-god · 3 years ago

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(fourth cutoff, explanation for the cliffhangers given. badadadadada idk there’s music on feeling very musical) yes! i have. yeah i think they could definitely have done better but at the same time i kind of loved having it loki central? like he’s just amazing and they even managed to incorporate so many tom hiddleston dramatic hair flips like- that part was perfect

but loki and sylvie i feel like yeah it’s okay i guess but the whole part about them being l i t e r a l l y the same person and just- the whole romance trope i felt was a bit unnecessary to the plot? like i respect your opinion and totally agree that we need more m/f bi representation in media definitely but loki and sylvie could have had this chaotic sibling energy? like there were so many things marvel could have done with their relationship but no they just went for the overused romance trope. tis unfortunate but oh well. bit nervous for the hole they opened up with all this timeline stuff and how it’ll connect to the plot.

welp that was long sorry

Yeah I liked the loki show conceptually and I thought it was kinda neat. He was the only marvel character that I really got invested in so it was nice. I have some issues with it structurally that are just preference, like I feel like you can’t have a characters arc start in a different story (like the other movies) and expect it to have the same weight, and sylvie basically didn’t develop at all which is annoying. But anyways.

Oh to be clear just cause I don’t loathe loki/sylvie with my soul doesn’t mean I think it was a stupid shoehorned romance that didn’t advance either character really and it’s true found family would have been so much more reasonable. I’d have loved to see literally anything other than a romantic plot and while I tend not to be as bought into the “theyre the same person” thing because it’s a frustrating lack of autonomy for her and the other Lokis to make them subsets of Tom Hiddleston it’s still weird that marvel went “that’s gross” and “that’s normal” in the same episode ?????

Also sylvie just *had* to be irrational just cause she had righteous rage which is a trope I’m fed up with that they use to make her anger seem foolish when it’s fucking important....

Anyways the show was fun to watch even if I had a bunch of problems with it because disney does not own a single fucking person that can write a script clearly

(And no it’s fine I like ranting the length was good)

#loki stuff #its clyde!

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donttouchmyasymptote · 6 years ago

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Old Enough To Read Again || Darabella

Happy Holidays, @eccentricextrovert ! I know you love Darabella (as well The Adventure Zone, which doesn’t feature at all in this fic, but I also love TAZ so let’s talk about that too sometime), so I wrote you some for the @eah-exchange <3

It took a good month for Daring to realise that dating- no, courting, Rosabella was a bit more than extravagant gifts.

To be fair, courting any princess at Ever After High was more than extravagance. For some, being born with a silver spoon in their mouths meant that the taste dulled their senses until they could accept no less than platinum. For others, raised by wet nurses and with dead mothers and distant fathers and the lived experience that a jewelled crown came with a political weight, every bit of gold seemed that of a fool’s. For many, they knew that if someone had to put a monetary value on marriage, and that they were priceless and deserving of things better than riches, like loyalty or trustworthiness, or like, really good biceps.

(Rosabella was pretty fond of his really good biceps, if linking arms on the way to classes or dates was any sign, so Daring knew he wasn’t doing too shabbily.)

And to be fair, Rosabella kept all of the gifts. She had a few expensive rocks tucked up on one of her bookshelves, and all the flowers placed in a vase until they expired their time. She shared chocolates with Daring, but not without small tangents on rising sea levels, on how dwarf mines were an unsustainable power resource, on how magical energy was not being harnessed in renewable ways and that the waste was spreading to other magical regions, most notably Wonderland, and because of all that, the fairytale universe was getting hotter and that wasn’t just because natural selection meant that only those regarded as most beautiful in their lands got shots at marriage, and that meant that the cacao plants were going to die out and with that so many sweets-filled destinies and--

Unfortunately, he only fixated on the most minor of parts. “No fear, Rosabella! We shall sort out this waste issue. Dragons fly vast distances, surely they can take any trash off to some far, far, far off land. I’m thinking America.”

To which, she had only lightly scolded and told him not to dump their own issues on other, unsuspecting people. “Think of the Ozians! They’re unstable as it is!”

The next time Daring bought her chocolate, he made a deal about it being Fair Fairy Trade, with practises, through what research he could do, that were environmental friendly and didn’t involve underpaid fae labour. When Rosabella kissed his cheek and called him thoughtful, he felt his heart warm up inside.

~*~

“Am I doing well?” he asked, when Rosabella came up to him after classes, handed him a coffee, and looped her free arm around his.

“What do you mean?”

He blanked. “Uhm.” Daring Charming did not lose grace in social situations. “I’m totally dashing and cool, right?”

“I like you, yes,” she said, and leaned up to gently kiss him on the nose. “You are the next Beast. I’d be a little miffed if I didn’t.”

Daring wasn’t confident with that response. Author Grimm-it, he was quite fond of Rosabella. He was determined to impress her, to stand out among Ever After High’s avalanche of handsome princes, but it seemed naught when all he had to offer was pretty when she was that too, and on top of it, clever and dedicated and knowledgeable…

“The next Beast,” the words ran in his mouth strangely. It had been a while since he realised that he would soon follow Rosabella in her destiny, and abandon what he thought was his future life for the past decade. With Rosabella, things felt right. “Rosabella, I’m sorry if I don’t quite seem as princely as I do normally. My real role is just a completely, fair-y, fair-y different role from the one I thought I had.”

“I think you’re doing royally well,” she squeezed his hand. “There’s a lot to being the next Beast. For starters, you’re no longer just a trophy husband.”

He looked down at his coffee. Trophy husband. Daring knew of princes who resented that term. He never did, but he would always pass by conversations in common rooms -- ‘no matter how the world sells the narrative, we are naught but prizes for princesses’, ‘it doesn’t matter how many witches or woods they endure, we deserve autonomy too’. Ill-complaints, he had thought. The World of Ever After was still tilted in princes’ favours. His roommate, Hopper, had once tried to offer his input to these common room rifes, but was shot back with ‘isn’t your princess meant to kill you in your original? No amount of revisionism will save you, amphibian boy’.

How did Rosabella know this term? She liked activism circles, didn’t she? How much she did absorb from these princes?

Just-- what a fascinating princess. So steadfast, always holding her ground. Daring felt like he couldn’t keep up. Sometimes, he wanted to just sit back and listen to her talk for hours. Whatever topic, whatever rant, that voice, that mind, her ideas.

“For an eldest son, you never had to do much outside of hero stuff, did you?”

Rosabella was right. Daring never really thought much about ruling. Destiny for him used to be so simple - be handsome, and be certain about being handsome. Kiss a princess, wave a weapon around or so.

He thought about Apple and the role of Snow White. He thought about how, once, he had to ‘rescue’ her. How simple it was - a quick kiss.

Did he ever think about Happily Ever After afterwards? Not really. Snow White had been named one of Faebes’ top world leaders for decades now, with pretty much a monopoly on rare Dwarf minerals. Apple was the one that would have been crowned queen; they were not meant to be joint monarchs.

“No…” he confessed. “I mean, I get good grades in Kingdom Management. But I used to think that Apple would handle the political side of things.”

She grinned, and loosened her looped arm to grab his waist and pull him in. “Good. You won’t have to.”

“Rosabella, don’t think so little of me!” he tried to amplify his voice to sound strong, but a slight whinge remained. “I am not completely useless--”

Having finished her coffee by now, Rosabella put her free hand on his chest. “No, no, I didn't mean to insult you. I meant, you won’t have to rule over anyone. We don’t have people.”

“... what?”

“Other than the castle staff, we don’t have subjects,” she said. “Beauty’s the youngest daughter of a rich merchant. My coronation will be an incorporation.”

Daring blinked. “Coronation… incorporation?”

And she explained. How, because each generation, the beast’s castle would be secluded, so when destiny was done and over, him and Beauty had to live and move into it. Twenty to thirty years was too short of a time to cultivate any stable population, so the kingdom was not remodelled into a county, but a company. It was a versatile move on her predecessor’s part, so that no matter the gender of the heir, their lives would be properly set up in a manner to fulfill the story accurately.

He never realised how much he failed to ask about her.

And to think -- the times she thought about him: how she got through all the list of action movies he loved, or how she remembered his ever-complicated drink orders and the moods in which he preferred them, or the efforts she put into being friendly with Dexter and Darling, and reminding Daring about their lives. No detail seemed to slip from her mind.

“A lot of words! A lot of thought!” he said. “No wonder you’re as you are.”

“What do you mean?”

“You’re so smart. And well-read! I cannot keep pace with you all the time. It’s highly empress-ive.”

She beamed. “I think highly of you too.”

“I feel like every time we hang out, I learn more. I just… I just hope I’m not boring you. Maybe I should read like you, too.

There - her smile faltered.

Daring felt a very sudden, cold fear that he had upset her.

“I mean, other than for activism purposes, I haven’t really been reading. Legacy Year really thrones you in for a loop,” Rosabella took off her glasses and dusted them with a handkerchief - one that Daring recognised, for he had gifted it. “Too much time spent memorising crowns from birth to coronation, or looking into newly passed legislation. I want to read again.”

“You can read to me.” The response was instantaneous. “I like your voice. I like hearing you talk.”

“If I read to you, those aren’t my thoughts. But I appreciate it, Daring,” she smiled up at him. Even the roses that frequented her family castle’s gardens could not compare to her.

Daring recalled the warm feeling in his stomach, when Rosabella had kissed him for the Fairy Trade Chocolate.

“As a prince that should dash to every lovely princess’ needs, I will make time for you-- so you can make time to read!”

“We’ll start simple. Animal Farm.”

~*~

It had started out simple: hours spent under the trees in the Legacy Orchard, or Rosabella trying to read over the sound of the wind while dragonback riding, her voice starting to sound like a death metal song, or secluded areas of the Castleteria.

But the pages of the books dragged out longer, and Daring grew more eager for fiction, and by the time Rosabella cracked open a copy of Robert Iron Heinrich’s Stranger in a Strange Far, Far Away Land, reading already became an evening past-time on one of their couches in one of their dorm rooms.

At some point in these evenings, he would be comfortable enough to tuck his head between the nape of her chin and clavicle. Comfortable enough to have one arm across her waist, comfortable enough for his breathing to fall in sync with the weight of her words.

And eventually, comfortable enough to kiss for a bit, though never for long. There were books to get to, after all.

(Besides, Rosabella’s voice was perhaps one of the nicest things to fall asleep too.)

#ever after high #darabella #daring charming #rosabella beauty #eccentricextrovert #eahexchange

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so-shiny-so-chrome · 6 years ago

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Witness: Jaetion

Creator name (AO3): Jaetion

Creator name (Tumblr): Jaesauce

Link to creator works: https://archiveofourown.org/users/Jaetion/works

Creator name (other platform- please specify): Pillowfort: Jaetrix

Q: Why the Mad Max Fandom?

A: MMFR movie was incredible! It hit all of my sweet spots. And the fandom is great: really supportive people, creative fanworks, and great discussions. I've been playing around with fandoms online for a long time and I've met some awesome people, but the MMFR fandom is just chocked full of interesting fans and ideas (like this spotlight!).

Q: What do you think are some defining aspects of your work? Do you have a style? Recurrent themes?

A: Oof, I'm not sure. I think my style is a lot of conversation, and very little and very poorly written action? As far as themes go, I love referencing music. Music is important to me, so it usually influences my writing. I identify as a feminist and try to put progressive messages into my stuff. I try to write women who form relationships, live their lives, and drive the plot without having to play second banana to men. On a similar, I like writing/reading sex scenes that are fun and funny for the people involved - enthusiastic yes from both/all parties. (Unless I'm filling a fic request that specifies something else, of course.)

Q: Which of your works was the most fun to create? The most difficult? Which is your most popular? Most successful? Your favourite overall?

A: “Take the A Train" was fun because I love writing about NYC. But the stories in "Citadel City Serenade" have definitely been the most rewarding. I really like trying to fit plots and characters together, and it feels awesome when things snap into place. "Six-String Soldier" is my most popular fic, probably because I started writing it right around the release of the movie and it's shippy. Overall... hm, I think my favorite MMFR thing I've written might be "Metal Bars." I think I did a pretty decent mix of kid naivety and shitty oppression.

Q: How do you like your wasteland? Gritty? Hopeful? Campy? Soft? Why?

A: Hopeful, but realistic, I think. With everything that's going on in politics, both in America and internationally, and the unbearably awful reports on climate change, I need to cling to some remnants of hope or else I'll just lie on the floor and never get up. I love solarpunk! Reclaiming/recreating the world is what interests me.

Q: Walk us through your creative process from idea to finished product. What's your prefered environment for creating? How do you get through rough patches?

A: I write drafts, either as notes on paper or outlines in Google docs. I have a bunch of notebooks full of fragments. I do a lot of editing - I have a hard time articulating things, so it takes a number of attempts until I get it right (or at least close to right). When I get stuck, I read fic. There are so many talented authors who've produced so many amazing stories that it's pretty easy to find something inspiring.

Q: What (if any) music do you listen to for help getting those creative juices flowing?

A: Folk music! I have a couple of playlists on Spotify specifically for writing Mad Max fic.

Q: What is your biggest challenge as a creator?

A: Writing! Specifically writing something good! I'm not sure if this counts as a challenge, but I also struggle with self doubt; posting something that gets no attention really sucks and it's hard not to take poor reviews/no reviews as a personal affront.

Q: How have you grown as a creator through your participation in the Mad Max Fandom? How has your work changed? Have you learned anything about yourself?

A: I've never attempted to write something as long as "Six-String Soldier," or the whole series of "Citadel City Serenade," really. Trying to manage a couple of different timelines at once with different POVs has been complicated and fun. Because of this fandom, I've also been writing more articles for the Fanlore wiki and tracking down references/resources for preservation. I'm an archivist and being able to use some of my professional skills in fandom and even develop them has been sort of neat.

Q: Which character do you relate to the most, and how does that affect your approach to that character? Is someone else your favourite to portray? How has your understanding of these characters grown through portraying them?

A: I probably relate most to Max: tired, wants to be alone, many grunts. But I prefer to write the Wives. They're so fascinating, each in their own way. I love how distinct they are and yet how well they work as a team. The first few times I saw the movie, I focused on Furiosa as the feminist hero that we all needed, but the more I watched and the more I read, the more I realized just how courageous, intelligent, and yes, feminist the Wives are. Victory doesn't require fighting and heroes don't need to be killers. The Wives achieve so much over the span of the story without physically fighting.

Q: How do you translate various elements from the film, such as the theme of the importance of bodily autonomy and critiques of an oppressive ruling class, into a modern setting?

A: This is an amazing question, thank you for asking! MMFR portrays a reality that is uncannily close to our own - In fact, it might as well be a peek into our future. In my mind, there's not even much of a need to translate those elements/themes because oh god we're dealing with them right now. What I was trying to translate with "Citadel City Serenade" is the victory of the characters over those adversities. In MMFR, the characters participate in violent, bloody battle; in CCS, they start social movements. Which is something we can do in the real world! Marches, protests, grassroots activism in general are tools we can use - Music, art, hell even gardening can be parts of a revolution.

Q: Do you ever self-insert, even accidentally?

A: Nope! I'm far too pathetic to survive in the wasteland. Hopefully I'll just die in the initial blast.

Q: Do you have any favourite relationships to portray? What interests you about them?

A: Yes! I'm a shipper at heart, so I am all about the couples. My two favorites are Capable/Nux and Toast/Slit. I love having the women be the ones leading the relationships - not only setting the boundaries but also expanding the War Boys world into completely new territory. I'm also totally into male characters who are sexually inexperienced. Alpha male dudes are meh in my opinion - Give me someone sweet and enthusiastic, someone whose love is based on respect, someone whose enthusiastic about learning. I think Nux is firmly in the category of awesome boyfriend, and I like trying to figure out how to lead Slit in that direction. There's also the idea of redemption in their relationships that I find fascinating.

Q: How does your work for the fandom change how you look at the source material?

A: Hm, I think that I definitely view the film through a feminist gaze. It's entirely possible that MMFR is just an action film but that's not my take on it!

Q: Do you prefer to create in one defined chronology or do your works stand alone?

A: Why or why not?Bit of both! I just want to read, read, read - As long as the fics are well written, it doesn't matter to me if the settings are consistent. As far as my own writing goes, I get so many ideas for fics that it's not really possible to have them all exist in a single chronology.

Q: To break or not to break canon? Why?

A: The great thing about fanfiction is that it's transformative. To me, canon is the foundation, but you can build whatever you want on it. Hopefully I keep the characters close to their canon portrayals, but other than that, I like to mix things up. Also, a modern AU setting just fits so damn well in the Mad Max world. I think also that canon itself can be flexible. Death of the author and all that. Once media is out in the world, it'll be interpreted by the audience - and sometimes those interpretations are vastly different from one another.

Q: Share some headcanons.

A: I don't really have any! Since most of my stuff is AU, the headcanons are limited to those settings.

Q If you work with OCs walk us through your process for creating them. Who are some of your favourites?

A: I have a smatterings of OCs who populate the world as background characters: Vuvalini, milking mothers, and War Boys. I played a MMFR tabletop RPG a couple of years ago, and my character from that and an NPC she saved both ended up in 6-String. That particular War Boy (Stacks) now has a couple of fans and so I've been giving him more screentime, as it were. He's sort of interesting as a foil to Nux and Slit: those two have girlfriends to learn from, but Stacks is on his own as he tries to escape from the WB life.

Q: If you create original works, how do those compare to your fan works?

A: I do! I participate in NaNo every year. I think my fanfiction is better than my original stuff since I write, since the fanfic is intended to be shared and thus I have to write decently enough to get readers. However my stuff tends to be in the speculative fiction genre, so that's something my fanfic and original fic share.

Q: What are some works by other creators inside and outside of the fandom that have influenced your work?

A: There are so many! In Mad Max, @supergirrll, @redcandle17, pbp (@primarybufferpanel), @bonehandledknife, Tyellas (@thebyrchentwigges), and hell all of the Boltcutters are all really important; the early writers of Nux/Capable fics also really influenced and inspired my love of the characters and the ships. Spicyshimmy, an author in the Dragon Age fandom, has also been one of my favorite authors for years, and I return to her stuff regularly to see how awesome writing can be.

Q: What advice can you give someone who is struggling to make their own works more interesting, compelling, cohesive, etc.?

A: I struggle with this myself, so I don't think I really have an answer unfortunately other than read everything you can get your hands on, write everything you can think of. I write basically what I want to read; if I can make the reader!me happy, then at least I've satisfied one person. However, what I consider interesting, compelling, etc, isn't always what other people want. Maybe my advice is to try not to take it personally when your hard work isn't rewarded. Which again, I'm not always able to do.

Q: Have you visited or do you plan to visit Australia, Wasteland Weekend, or other Mad Max place?

A: Yes, Wasteland Weekend! It was a lot of fun and I'm hoping to go again. Being able to immerse myself in the world was a great experience - A totally new way for me to engage with fandom.

Q: Tell us about a current WIP or planned project.

A: Still chugging along with "Citadel City Serenade!" The two main stories in that series are going to intersect in a meaningful way soon. In fact, they're going to crash. Looking forward to getting that out there (and getting it done!).

Thank you @jaesauce

#Mad Max Fandom Spotlight #Mad Max fandom #mad max fandom creator spotlight #fury road fandom #fanfic author spotlight #mad max fanfic author spotlight #Jaetion

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