#but not enough to be present for the central conflicts?

[ofswordsandpens]

I could see Katara recusing herself from the trial because of her personal connection to bloodbending. Is it fair that she serve as judge and jury on a trial for breaking a law that she wrote? But if that was the logic behind her exclusion, I would have appreciated a throwaway line to that effect. Otherwise it just looks like sexism…

Probably should have been more clear in my tags - I didn't want her to "lead" Yakone's trial in the sense that she's the judge and jury, but more in the sense that she's shown as a fellow figurehead... just like Sokka, Toph, and Aang were in the flashbacks. Toph actively hunted Yakone down and is present at the trial. Aang takes time away from his duties that he "typically wouldn't" to help Toph hunt him down and is present at the trial. Sokka is at the trial as a councilman and literally gives the verdict of the council.

Meanwhile Katara, the person who fought to get blood bending banned in the first place, the near single political recognition we're given of hers in TLOK, is just.... somewhere else? Had no interest in helping Toph track him down? And even if she wasn't present at the trial as a proponent or activist of some sorts, she could have been in the audience. Like you don't think she wouldn't have some bearing of interest in this case? On the outcome? Even if she hadn't said a single word, the animators could have literally just drawn her in the empty chair next to Aang in the court and that would have had far better mileage (not perfect, but better) than her simply being nonexistent in every one of those flashbacks imo.

But this is just one example. Katara's character (amongst the others) after the original series just... doesn't hit the mark for me. Sure, TLOK and other post-ATLA material will tell me she's a fighter, a healer, an activist as an adult etc but when it comes to actually showing it, such as how they did for Aang, Toph, and Sokka in TLOK... well, they don't. Katara simply doesn't get the same relevance as they did. And it leaves such a bad taste in my mouth.

[dragonzzilla]

Tears of the Kingdom's underwhelming narrative had rich potential

I'll preface this with a confession: I have not played Tears of the Kingdom. As a matter of fact, I haven't played any Legend of Zelda. I simply never had the opportunity while growing up, so my interest in the series has always been satellite. As such, I do not have the perspective of someone who has. My opinions are formulated entirely in what little I have seen or sought out. I'm coming at this with the perspective of an outsider looking in. But I'm not looking for a fight. My aim isn't to bash the new hotness out of jealous spite, or to convince people to feel bad about liking this game that, I've otherwise heard, is really fun. The reason I care, even though I'm not a part of the fandom, is that we all deserved better.

This is a much anticipated sequel to a smash hit from one of the biggest names in the industry, sold at a whopping $70—and having watched for free a YouTube compilation of all the cutscenes pertaining to Ganondorf, the much advertised central antagonist of TOTK, I felt robbed. This was my legitimate reaction:

Disregarding all my other feelings for a moment, I was dumbstruck to see a Nintendo game—released in our year of 2023—use what is essentially the same cutscene four times while explaining the backstory. I recognize TOTK has modular progression, allowing you to reach the Sages in whatever order you please. But once you've seen the first one, the other three will offer you no more valuable information. I'm willing to stretch my suspension of disbelief pretty far, yet even I recognized on first viewing how formulaic the Sage cutscenes are. It wrenched me out of the story.* Hearing different perspectives about the same events can and should be interesting, but the Sages relating these events barely qualify as characters—possessing neither names nor even faces, thanks to their uniform masks of Zonai design...

* I'll acknowledge: Within universe, there is reason enough for the Sages to repeat what is essentially the same story to their respective successors to apprise them of the situation. I can certainly see Link having to sit through the same spiel several times so everyone is on the same page. But it felt really unnecessary as a member of the audience. And unlike their BOTW counterparts, the Four Champions, the Sages don't stick around long enough to endear themselves any further, instead passing their abilities and function onto their successors.

… Which, I feel, represents the Ancient Past Storyline as a whole. Despite the number of bodies involved, no one felt alive. Queen Sonia—this continuity's founding mother of Hyrule, where divine power is explicitly matrilineal—amounts to nothing more than meat for the fridge to motivate the real star of the show, Rauru. Everyone else, including Zelda and the other Sages, are merely bit players in the conflict between him and Ganondorf. But it's a conflict without teeth. Ganondorf displays nothing but a mad, naked lust for power. Opposing him is Rauru, the quintessential Good King and benevolent god figure who would never abuse his power, but would sacrifice it all to seal away the evil invader who killed his beloved martyr-wife. There is no interrogation of the 'gentle' imperialism Rauru represents. His way is textually presented as the only righteous way. The world of this continuity revolves around his legacy and its preservation; anything else is not merely deviant, but indicative of evil. Only someone with the blackest of hearts would oppose this order. The narrative requires Ganondorf to be nothing less than the epitome of evil.

Which is… really disappointing, to say the least. Because I happen to like Ganondorf. His character and his place in the mythos have always been the forefront of my interest in the series; forget Link or Zelda. Naturally, I was drawn in by TOTK's marketing about Ganondorf's return as a human antagonist after a 17 year long hiatus. Given how much of a reinvention BOTW was for the series as a whole, I was disappointed back in 2017 to learn that Ganondorf existed only as a mindless force of primordial evil. "How lame," I thought, "but I guess it's not really Ganondorf." Calamity Ganon was just that: Ganon. And Ganon's always a full-blown monster, divorced from any nuance possessed by his OOT, WW, and TP selves. Then the first teaser for TOTK dropped, placing Ganondorf the man (if a little worse for wear) front and center. Intrigued, I enjoyed the explosion of enthusiastic fan art that followed, as well as the speculation regarding the role he would play. Surely, he would be more than a one-note villain! My expectations rose as Nintendo revealed more about him. His new design didn't immediately scream Dark Lord; and in his first speaking role, he draws attention to the fact that he has returned (within universe and meta-wise) and he has a vision for the world. I couldn't want to see the final product! Yet here we are.

It's a strange thing to fixate upon, when I don't have any skin in this game. But I'm passionate about storytelling. I enjoy rich narratives with nuanced characters, and I respect those that fully commit to the ideas they present... whereas stories that try to have their cake and eat it too, well, those pique my interest as well. Whenever I see untapped potential, my writer's mind cannot help but ponder the age-old question of "What if?" And I intend to do just that, in the cut below (this rant is long enough as it is).

Of course, no amount of brainstorming can change the reality of a product. A ship's structural flaws only become apparent once it's left port, but there's no recalling it then. Nonetheless, there is value in the discussion. We should always critically analyze what corporations give us, desiccating their products to discern the messages (whether intentional or not) contained within—especially when the product is aimed toward a young audience that might not have the cognitive tools to decipher those messages for themselves. Even if we cannot affect change in a monolithic company like Nintendo, we can still draw lessons from their missteps to improve our own writing.

If I have such grievances with TOTK's story, why bother with a rewrite? Because:

Playing within the limits of another's sandbox can help to build creative muscle.

I believe TOTK has all the right ingredients for a compelling story, if this new series wasn't so afraid to challenge its narrative roots the way it has its gameplay.

A few more things to note: I am not a professional writer, nor am I a veteran of the series. I'm working strictly with what TOTK brings to the table. I'll make no efforts to reconcile the continuity errors between BOTW and TOTK (though it deserves mentioning), or even attempt to fit this in a single cohesive timeline with the rest of the franchise. I am not that brave lol. What I propose below is simply how I would use these toys; YMMV. I hope this inspires discussion more so than congratulation or wordless agreement (though my ego will accept compliments all the same, especially since it took no small amount of spoons to organize my thoughts like this). As Ganondorf says:

A Modest Rewrite of TOTK's Ancient Past Storyline

Zelda is still flung to the past, but she awakens not to a picturesque golden age under the magnanimous rule of an infallible demigod. Instead, sadly reminiscent of her own age, the land lays in ruin, in the immediate aftermath of its own calamity. But this isn't the fault of Ganon. The blame lies solely with the Zonai.

The Zonai were understandably viewed as gods. A people who live up in the sky on floating islands, in possession of miraculous technology (including killer robots to protect their interests!), and magical artifacts that in the wrong hands can unleash cataclysmic power? A civilization as powerful as theirs doesn't suddenly end without a very good reason. Yet as far as I know, no explanation is provided as to why Rauru and Mineru are seemingly the last of the Zonai. No mention is made of a rival power that could've taken them down; certainly none of the terrestrial races. Remember, the Zonai were seen as gods. If you were to ask me? A civilization with that great of a power at their disposal, and apparently so much of it that Rauru has four more Stones (not including his own, Sonia's, or Mineru's) to pass out as he sees fit... can only destroy itself.*

* I know the Zonai are depicted in text as a purely enlightened and benevolent race... but as far back in the franchise as OOT (which TOTK draws a lot from), not even Hyrule—the standard by which all civilization in LOZ is judged—was above a civil war, orphaning Link. War Within LOZ clearly isn't waged solely against primal forces of evil that can, must, and should be destroyed. And that's good! A story is made richer when even the Designated Good Guys can fuck things up, when characters are allowed to contain multitudes—good and bad qualities!

Power does not defuse conflict. It only escalates the scope of destruction once it's unleashed. So, for whatever reasons the Zonai gave themselves then clung to, they started fighting each other. Using their flying machines and automatons, battles were fought upon and between their sky islands, the detritus of war raining down on the lands below—the inhabitants of which can do nothing but watch as a war rages in heaven—until finally the full power of the Stones is unleashed in an exchange that guarantees mutual destruction. The sky islands all plummet to the earth, wreaking mass destruction. This is the world Zelda finds herself in—where the land has been cracked wide open, the skies are choked with dust, and no one gets along... so unlike the world she knows.

Zelda still comes into the care of Rauru and Sonia, but Rauru is merely Sonia's consort—he holds no power as king. It's evident from the start that Sonia is steering the direction of Hyrule—a humble territory in this age—in this tumultuous time, although Rauru is backing her. It's thanks to Sonia that Rauru and Mineru survived the fall of their sky island, brought back from the brink of death. It was during this time that Rauru fell in love with her; and to repay her, Rauru revealed that, between himself and Mineru, they have three intact Stones (a small homage to the Triforce since it doesn't matter in this continuity) with which they can secure Hyrule's place in this brave new world. Importantly, this isn't portrayed as any more righteous than a nation acquiring a clear advantage over its rivals. Indeed, Zelda's thrown for a loop to learn that in this era, the other races like the Gorons and the Zora aren't merely independent from Hyrule but have a history of conflict—something she never learned in her history books. And tensions are only rising, as these rival nations find Stones of their own after much scavenging, shifting an already fraught balance of power. The gods are dead, their empire shattered—yet slivers of their strength remain, for those daring enough to claim them. By using one of these Stones, a tribe could secure its borders, reclaim ancestral land... or conquer new territory. This is where Ganondorf enters the picture.

This Ganondorf is still a villain, but there's room for nuance. He's ruthless and prideful, and certainly antagonistic toward Hyrule; but the narrative respects him as much as his fellow monarchs. He cares about the success of his people, because his entire identity is shaped around being their king. Remember that a male is born to the Gerudo only once in a hundred years. Ganondorf is but the latest in a lineage of kings, with the heavy burden of expectation that carries—he has a legacy to uphold or surpass if he can help it. And ever since he was a boy, he envied the easy lives and green lands of Hyrule, so as a man he has made it his personal ambition to conquer it... but at every turn, he has met his match in Sonia, who is every bit as skilled of a commander and a magician. The two of them have clashed so many times that they've become the most intimate of enemies, hard pressed to hate each other because they both know what's at stake. For years, they've been evenly matched... but the downfall of the Zonai changed everything. In spite of the Gerudo's best efforts, they haven't been able to find a single Stone to make up for the fact that the crash of their local sky islands kicked up terrible sandstorms and drove monsters from their usual habitats. The Gerudo are more desperate than ever. Then Ganondorf learns that his oldest enemy is housing two living Zonai underneath her roof, and has a total of four Stones at her disposal. He cannot battle Hyrule as before, lest he risk annihilation—if not by Sonia's hands, then another tribe that is more willing to coup de grâce a decimated competitor, or they might perish to monsters, or the desert might finally claim them, the dunes swallowing up their bones and burying their accomplishments. He could bend the knee—throw himself at Sonia's feet and hope for the best, sacrificing Gerudo independence to share in Hyrule's bounty. But his pride will never allow that.

He grew up in the shadow of detached gods, was raised on tales of how they were the ultimate arbiters of truth and value—almighty in their judgment and unassailable—and he saw for himself that they would only ever come down to earth to indulge their curiosity about the quaint groundfolk or harvest what their sky islands could not provide, most notably Zonaite (of course they named it after themselves...) to fuel their miraculous machines, the secrets of which they refused to share with anyone 'because they weren't ready' and would in fact use those same machines to keep the groundfolk from overreaching. Ganondorf is the first king in generations to glimpse a sky—and a future—uncontrolled by the Zonai. Though he was raised to be a king, the very definition of absolute power and privilege, only now is he truly beholden to no one. Finally, he is free to shape his own destiny. And he's not about to relinquish that freedom on account of his dearest enemy getting in bed with a fallen demigod—no, not a god... the Zonai's civil war proved they are not infallible. Without their technology, without their precious Stones, they're flesh and blood, the same as anyone else. Mortal. And what is a man to a king?

Despite the bad blood between them, and the generations of strife between their peoples, Ganondorf is able to convince Sonia that he is willing to bury the hatchet for the sake of his people, that his desire to enter the protective embrace of her kingdom, given the dangerous new world they find themselves in, is genuine. His true intentions are not so painfully transparent, but still Zelda does not trust him. She can't stop wondering how this man becomes the source of the Gloom in her era, even if the hateful creature she encountered in the depths below Hyrule Castle hardly seemed human at all. But she cannot act on a suspicion of duplicity due to future events. So for Ganondorf's entire stint in Sonia's court, Zelda tries to weasel out the truth—and in so doing, builds a relationship with the future Demon King. Once Ganondorf catches on to the fact that Zelda sees right through him, it becomes a game of 4D chess. Who is this girl, a member of Sonia's court that he has never heard before yet is trusted enough to bear a Stone, and why is she so certain of his true motives? He's smart enough to suss out that it isn't simple bigotry. It's a fine line Zelda must walk, because she has a secret of her own—she hasn't told anyone that she's from the future, out of a rational fear of disrupting the past and changing history (but at the same time, she can't abide doing nothing, and these interests war within her).

Despite Zelda's best efforts, Ganondorf succeeds in his plot. In a single stroke, he eliminates an old enemy, deprives her nation of its leader and a Stone, and finally secures a Stone for the Gerudo. But claiming the Stone doesn't immediately transform him into an Almighty Demon King. The surge of power is great, but not so much that he's willing to engage three other Stone bearers—two of which are Zonai who of course have experience using them—so he wisely retreats, though not before telling Rauru: "No point in crying over this one. She's not the first victim of your arrogance. And we both know she won't be the last." He's made powerful enemies, but it's a battle he can fight on another day, and at least now he's on equal footing with the other factions and can take their Stones until he can finally conquer Hyrule. But Ganondorf severely underestimates the lengths Rauru will go for revenge. In killing Sonia, before Rauru's very eyes no less, he has made another enemy for life (and beyond).

Understand that Rauru survived the destruction of his people and their way of life. That's traumatic enough. But now, the person who saved his life, and gave it new meaning, is dead. Murdered. By someone he had come to trust. Because he put a target around her neck. He should have seen this coming, he should have listened to Zelda, perhaps then he could have stopped this. But it's far too late now. Before, he was content to merely support and serve—a just penance, he believed, for his small part in breaking the world. Now, he has a new purpose: To secure Sonia's legacy by any means necessary. He binds his fate to Hyrule, which will never be safe so long as Ganondorf lives. This isn't a wise and beneficent King of Light opposing a terrible darkness, but a grieving widower—who's also a skyborn demigod that just lost his one earthly tie.

After taking command as regent, Rauru does not invite the other races to a grand alliance; he brings them to heel through force. It's not enough for Rauru to immediately counterattack Ganondorf. He wants to destroy him, and what better way than to turn the whole world against him? Additionally, by consolidating the power of the Stones onto his side, he denies Ganondorf the opportunity to pick them off one by one. Zelda is witnessing history, the birth of Hyrule as she knows it, but there's nothing noble about it. It's simple imperialism, and she has to grapple with the fact that she's a beneficiary of it. If the peoples of Hyrule were united through bloodshed, does this invalidate the friendships she's made among those peoples in her present? She's confronted with deep questions which possess no easy answers.

Meanwhile, Ganondorf hasn't been sitting on his laurels. He sees Rauru is stacking the deck against him, such that even the Stone's power won't be enough to win the coming war. The Gerudo are outnumbered and outgunned. So Ganondorf turns to darker magics, begins to press monsters into service, etc. His search for ever greater power takes him into the Depths, where he finds a dangerous substance called Gloom. According to legend, it is the ichor of a demon god who was struck down long ago and sealed away in the bowels of the earth. It drains the life-force of whoever touches it, that much is certain... but Ganondorf reckons it is possible to access this stolen vitality to perform feats of magic hitherto thought impossible. Through his mastery of dark magic, amplified by the Stone, he is able to harness the Gloom. First he tests it upon monsters... then dissidents, those reluctant to oppose Rauru's growing army. He makes examples of them, siphoning away their life-force to show those who will not fight will still serve their king. But this barbarous act only creates more dissent among the Gerudo. Tradition appointed Ganondorf as king, but that doesn't mean they have to stomach his tyranny. Even if he manages to win this war, this new power could allow him to reign forever, and he just demonstrated how little their individual lives mean to him. Worried for the future of their people, Ganondorf's second-in-command, Nabooru, sells him out in exchange for clemency, enabling Rauru and his Sages to capture him. Instead of slaying him on the spot, Rauru declares his intention to haul him back to Hyrule for a public execution in Sonia's name. Nabooru insists on coming along; if the King of the Gerudo is to die on foreign soil, then one of his own should observe his passing.

Ganondorf doesn't respond well to this betrayal. After everything he sacrificed, they would still rather roll over and show their bellies—surrender their freedom and pride—to a foreign lord. Who are these people, to abandon the courage of their ancestors? These are not his Gerudo. Ganondorf disowns them, swearing vengeance upon these cowards even as he is taken away in chains. The journey back to Hyrule gives him time to brood on his destiny. He was born to be a king, yet the place of his birth has forsaken him while the rest of the world wants him dead. Most people would crumble, succumb to despair. But his pride will never allow that. He will keep fighting, like he always has. He will crush any opposition, even if it's the people who gave him birth. He will rule, even if he must reign as king of the undesired. There's a saying: 'The brighter the light, the deeper the shadow.' And Rauru has blazed oh so fiercely. To oppose him, Ganondorf must become nothing less than the King of Shadow.

At the moment of his execution, he draws upon the Gloom to transcend his mortal limits, finally becoming the Demon King. In this form, he's able to battle all seven of the Sages, but he's still not almighty. In theory, Rauru is able to slay him... but he chooses not to. Imprisoning Ganondorf isn't done as a last resort; Rauru wants him to suffer. "Killing you would be far too kind. I will make you wish you could die. You won't. I will hold you here. We will build our kingdom over the lands you tried to burn and pillage. And you will rot here, trapped in this moment, long after you have faded from its memory." And he sincerely believes that he'll be able to contain Ganondorf for all time—because he was able to ascertain that Zelda is from the future, after examining her Stone (his Stone, as it turns out) and piecing together her strange accent and unusual notions, even though she has the pointed ears of a Hylian. He doesn't understand the power, but he does take it as proof positive that his victory is guaranteed and Hyrule exists well into the future... without ever learning the whole truth of it. Rauru is directly responsible for the cycle of Calamity Ganon, as Ganondorf's resent and hatred transformed the Gloom into Malice.

Rauru's pride is an actual flaw, one that is fully explored in the modern day. Just like Ganondorf says, thousands of years passed in the blink of an eye; Rauru hasn't had any time to process his rage. He only saves Link to make him a vehicle for his revenge; sticking around past the tutorial as Link's spectral companion, constantly pushing him to ignore all distractions to destroy Ganondorf ASAP, yet unable to control him directly. In staying with Link, Rauru learns of his legacy; that he created a lasting kingdom, but harmed future generations by inadvertently creating Calamity Ganon—Ganondorf's disembodied anguish and hate, nursed over thousands of years. His selfish decisions created more harm than Ganondorf could have in a single lifetime. Just as the Zonai destroyed the world once before, Rauru managed to destroy it again and again. Hyrule no longer even exists as a kingdom, destroyed by Calamity Ganon 100 years prior. Yet Link continues to fight—not for himself, but to protect and help those he cares about as well as perfect strangers. Rauru gives a touch of the divine to Link, and in return Link reintroduces Rauru to humanity.

In contrast: Ganondorf broods in the Depths, alone. Although he still has a corporeal form, he's just as much of a ghost as Rauru is. He's more isolated than ever, having awakened to a strange world where nothing is as he remembers it. The geography is different, the flora and fauna is different, the people are different. Especially the Gerudo. They don't remember him as ever having been a person at all, believing the monster of their legends merely adopted the form of a Gerudo. But that doesn't sting as much as how tame they've become in his absence. These Gerudo have no fangs; they're fully in bed with Hyrule in every sense of the word, and it disgusts him. Nothing in this world is right. Everyone has forgotten their pride and their history; no one remembers a time when Hyrule wasn't be-all and end-all. Unable to accept this future, he terraforms Hyrule in the image of what it used to be, so it might become a crucible once more. The strong will adapt and survive, while the weak rightfully perish. He will create a world that rewards might and daring above all else.

Ganondorf is none too pleased to learn Link is running around with the arm of the man who sealed him for millennia, and assumes that he has become Rauru's puppet (even more hand symbolism)... but that's a key difference between Ganondorf and Rauru. Link essentially drags Rauru through character development, rekindling a sense of humanity within him. Ganondorf has no one to break him out of his rut. His only company down in the Depths are monsters and the Yiga Clan, who revere him as the source of Calamity Ganon—for his power and opposition of Hyrulian supremacy—but do not see him as person, a king in need of counsel. Ganondorf is more alone than ever, but he refuses to address this. To despair is to admit that the world has power over you, and he is the single strongest being in the world. Gods do not weep. And in that final confrontation, Rauru addresses Ganondorf: They're both ghosts of the past, stubbornly trying to shape the future to their liking; but the present belongs to the living. They both need to let go. But Ganondorf's pride will never allow that. To admit defeat is to admit someone has power over him, and he cannot allow it. It becomes clear to him that the only option left to him is to not play at all.

He swallows his Stone and becomes a dragon, but this doesn't lead to another boss fight (to compensate, the third phase would be a more classical Ganon fight; a friend suggested the name of "Scourge of Hyrule—Apocalypse Ganon"). Instead, in line with what was established earlier—that to become a dragon is to lose yourself to the process—Ganondorf ascends to the sky... and bears no more malice toward Link or Hyrule. He becomes the ultimate in power—immortal and at last truly divine—at the cost of his ego. He's still dangerous since he radiates Gloom, but he doesn't attack, just like the other dragons: an idiot god. He returns to the Depths out of instinctual comfort, but will occasionally surface and usher in a Blood Moon. And like the other dragons, you can harvest rare materials from him to make the best Gloom weapons or whatever. + Leaving Ganondorf in this state leaves a door open for fanatics to try and restore him in a sequel.

So, that's all I got

There's a lot of things I didn't address. Like whether the line of succession was broken with Sonia's death (so is Zelda descended from a relative of hers?), what sort of characters the Sages should be, or what Zelda does after Ganondorf is sealed away by Rauru (I'm personally not comfortable with her waltzing up to the Sages and in a stable time loop binding all the races to Hyrule), how weird the Draconification plot point is (and how Zelda is restored to her human form by Good Ending ghost magic), how Zelda is restored in this version (sequel hook same with Ganon?), how disconnected I feel Link is to the Ancient Past storyline as a whole, whether my version of Ganondorf actually ever learned about him, I didn't really dive into the aforementioned imperialist message in TOTK (others have already done so better than I), etc. Thing is, I'm not a professional writer. I do it for the love of it, and that's what this is. A messy labor of misplaced love for a franchise I've never played, all because I was upset they didn't treat my blorbo the way I like. You know how it goes. My brain didn't know when to let go, but at least now it's out there and not rattling around solely in my noggin, making an awful racket. Maybe now I can work on other things. If you've made it this far, cheers.

[literary-illuminati]

2024 Book Review #4 – War in Human Civilization by Azar Gat

This is my first big history book of the year, and one I’ve been rather looking forward to getting to for some time now. Its claimed subject matter – the whole scope of war and violent conflict across the history of humanity – is ambitious enough to be intriguing, and it was cited and recommended by Bret Devereaux, whose writing I’m generally a huge fan of. Of course, he recommended The Bright Ages too, and that was one of my worst reads of last year – apparently something I should have learned my lesson from. This is, bluntly, not a good book – the first half is bad but at least interesting, while the remainder is only really worth reading as a time capsule of early 2000s academic writing and hegemonic politics.

The book purports to be a survey of warfare from the evolution of homo sapiens sapiens through to the (then) present, drawing together studies from several different fields to draw new conclusions and a novel synthesis that none of the authors being drawn from had ever had the context to see – which in retrospect really should have been a big enough collection of dramatically waving red flags to make me put it down then and there. It starts with a lengthy consideration of conflict in humanity’s ‘evolutionary state of nature’ – the long myriads between the evolution of the modern species and the neolithic revolution – which he holds is the environment where the habits, drives and instincts of ‘human nature’ were set and have yet to significantly diverge from. He does this by comparing conflict in other social megafauna (mostly but not entirely primates), archaeology, and analogizing from the anthropological accounts we have of fairly isolated/’untainted’ hunter gatherers in the historical record.

From there, he goes on through the different stages of human development – he takes a bit of pain at one point to disavow believing in ‘stagism’ or modernization theory, but then he discusses things entirely in terms of ‘relative time’ and makes the idea that Haida in 17th century PNW North America are pretty much comparable to pre-agriculture inhabitants of Mesopotamia, so I’m not entirely sure what he’s actually trying to disavow – and how warfare evolved in each. His central thesis is that the fundamental causes of war are essentially the same as they were for hunter-gatherer bands on the savanna, only appearing to have changed because of how they have been warped and filtered by cultural and technological evolution. This is followed with a lengthy discussion of the 19th and 20th centuries that mostly boils down to trying to defend that contention and to argue that, contrary to what the world wars would have you believe, modernity is in fact significantly more peaceful than any epoch to precede it. The book then concludes with a discussion of terrorism and WMDs that mostly serves to remind you it was written right after 9/11.

So, lets start with the good. The book’s discussion of rates of violence in the random grab-bag of premodern societies used as case studies and the archaeological evidence gathered makes a very convincing case that murder and war are hardly specific ills of civilization, and that per capita feuds and raids in non-state societies were as- or more- deadly than interstate warfare averaged out over similar periods of time (though Gat gets clumsy and takes the point rather too far at times). The description of different systems of warfare that ten to reoccur across history in similar social and technological conditions is likewise very interesting and analytically useful, even if you’re skeptical of his causal explanations for why.

If you’re interested in academic inside baseball, a fairly large chunk of the book is also just shadowboxing against unnamed interlocutors and advancing bold positions like ‘engaging in warfare can absolutely be a rational choice that does you and yours significant good, for example Genghis Khan-’, an argument which there are apparently people on the other side of.

Of course all that value requires taking Gat at his word, which leads to the book’s largest and most overwhelming problem – he’s sloppy. Reading through the book, you notice all manner of little incidental facts he’s gotten wrong or oversimplified to the point where it’s basically the same thing – my favourites are listing early modern Poland as a coherent national state, and characterizing US interventions in early 20th century Central America as attempts to impose democracy. To a degree, this is probably inevitable in a book with such a massive subject matter, but the number I (a total amateur with an undergraduate education) noticed on a casual read - and more damningly the fact that every one of them made things easier or simpler for him to fit within his thesis - means that I really can’t be sure how much to trust anything he writes.

I mentioned above that I got this off a recommendation from Bret Devereaux’s blog. Specifically, I got it from his series on the ‘Fremen Mirage’ – his term for the enduring cultural trope about the military supremacy of hard, deprived and abusive societies. Which honestly makes it really funny that this entire book indulges in that very same trope continuously. There are whole chapters devoted to thesis that ‘primitive’ and ‘barbarian’ societies possess superior military ferocity and fighting spirit to more civilized and ‘domesticated’ ones, and how this is one of the great engines of history up to the turn of the modern age. It’s not even argued for, really, just taken as a given and then used to expand on his general theories.

Speaking of – it is absolutely core to the book’s thesis that war (and interpersonal violence generally) are driven by (fundamentally) either material or reproductive concerns. ‘Reproductive’ here meaning ‘allowing men to secure access to women’, with an accompanying chapter-length aside about how war is a (possibly the most) fundamentally male activity, and any female contributions to it across the span of history are so marginal as to not require explanation or analysis in his comprehensive survey. Women thus appear purely as objects – things to be fought over and fucked – with the closest to any individual or collective agency on their part shown is a consideration that maybe the sexual revolution made western society less violent because it gave young men a way to get laid besides marriage or rape.

Speaking of – as the book moves forward in time, it goes from being deeply flawed but interesting to just, total dreck (though this also might just me being a bit more familiar with what Gat’s talking about in these sections). Given the Orientalism that just about suffuses the book it’s not, exactly, surprising that Gat takes so much more care to characterize the Soviet Union as especially brutal and inhumane that he does Nazi Germany but it is, at least, interesting. And even the section of World War 2 is more worthwhile than the chapters on decolonization and democratic peace theory that follow it.

Fundamentally this is just a book better consumed secondhand, I think – there are some interesting points, but they do not come anywhere near justifying slogging through the whole thing.

[bitimdrake]

pssssst hey quick question on the dl - who is helena bartinelli??

i cannot answer anon questions on the dl, so answer on the up-high, which she deserves:

HUNTRESS

a.k.a. Helena Bertinelli, a.k.a. Gotham's coolest and most notable antihero, crossbow-wielder, and purple bat-associated vigilante.

Helena was born to an Italian mob family, but spent her childhood blissfully unaware of the family business--until her entire family was slaughtered in front of her when she was eight. She stayed with family overseas for the rest of her childhood, learning how to fight and protect herself.

She came back to Gotham for both vengeance and justice, and became one of Gotham's many vigilantes. Though her focus is on the mob, she'll step in to stop any crime.

She's also a schoolteacher! Good for her.

She is discerning in who she chooses to kill, but she does kill. As you can imagine, this put her at odds with Batman for a long time. Helena is pretty much the premiere example of Bruce trying to claim control over every vigilante in Gotham, no matter how little right he has. The argument on killing/ethics is valid, but his default was basically "do exactly what I say and fall in line under my command, or stop completely," which is why he's an asshole control freak and why I'm constantly mad about how she was treated 👍

She was an absolute mainstay of the Batfamily before Flashpoint (2011) and it is personally hurtful to me that people don't know her. (Like, to be frank? She had far more of a presence than Damian or (living) Jason in the post-crisis era.)

You could count on seeing her in any major Batfamily crossover, from Cataclysm to Battle for the Cowl.

She was central to the biggest Batfamily crossover ever, No Man's Land, where Gotham was locked off from the rest of the country and turned into a lawless wasteland. Bruce left to sulk for the first couple of months and in absence of any other vigilantes in the field (only Oracle having remained in the city), Helena donned the mantle of the Bat for herself to protect the city. And when Batman came back, in return for all she'd done, she got...yelled at, assigned impossible tasks and criticized for not achieving them, her costume stolen and given to someone else, lied to, abandoned in the face of impossible odds, and shot multiple times protecting kids. Absolute fucking hero, honestly.

She also was on the Justice League for a while, though admittedly I have barely touched that run. To my understanding, despite nominating her for the position, Bruce was also the one to revoke her membership there.

Fortunately! things improved!!

In the early/mid 2000s, Helena joined the Birds of Prey, Oracle's team, and found legit friendships and support there with teammates like Dinah Lance/Black Canary. She finally got more respect in the community, and had a much better time.

Additional relationships include:

A big sister/annoying little brother type thing with Tim, who may disapprove of her killing but simply likes making friends too much :)

A great relationship with Vic Sage/the Question

One single issue where she met Steph that presented SUCH interesting potential that I desperately wish had been followed up on

On and off romantic/sexual tension with Dick, depending on the writer, which culminated in a single hook up that apparently most people around here would rather pretend didn't happen, though I really don't think it's that bad

A complicated relationship with Barbara, partially due to clashing personalities and conflicting morals (with Babs being nearly as much of a control freak as Bruce), and partially due to a shared history with Dick because DC loves making women be catty

Surely others from her first solo or time on the JLA that I don't know well enough to list!

She's rad and determined and takes no shit but cares a lot, and I love her. We deserve more stories tying her teaching day job into her night work. We also deserve more stories with her in general.

If you would like additional Helena beyond just cruising my tag, I recommend:

Batman/Huntress: Cry for Blood - far more Huntress than Batman, this is a great 6-issue miniseries about Helena reckoning with her past, ft the Question.

Batman: No Man's Land - if you have the time for it, a big storyline but worth it.

Birds of Prey vol 1 (1999) - Helena starts to appear around issue #57 and becomes a central character from there.

[maplemonarchy]

Just cause I've been thinking about Fallout and Fallout 4 again, I have an opinion on Diamond City. It should be so much bigger. Let it sprawl outside of the walls. Tower into the stands. Smugglers running under the bleachers. Make it feel alive. Have people live in Parkview Apartments. Smoosh the Lansdowne station against Diamond City, let people live in those subway tunnels. Hell, make one of the central conflicts of 4 a class conflict between those who live in the stands/inside the walls vs those who live in the subway/outside the walls. There is already some textual evidence for this conflict present in Diamond City.

Diamond City should be a sprawling metropolis, the most powerful city and trading hub in the Commonwealth after Bunker Hill. People should say their from Diamond City and still be in Hangman's Alley. I know the joke about Bethesda's Fallout is that "nothing can ever improve, everything must be Mad Max forever."

And like, yeah. But wouldn't it be cool if it did? Wouldn't it be so cool to wake up in Vault 111 and find out that your home from over 200 years ago is now a small town. With a doctor, a merchant, your robot butler, all under the protection of this fractured group who call themselves "the Minutemen." Maybe they want your help. People keep talking about "the Great Green Jewel of the Commonwealth." Your pip-boy picks up a radio station that is from that emerald city. And then you finally see it. Passing through its outer areas, a small outpost built in an alleyway to help protect traders coming from Sanctuary. And then finally reaching the gate of this city. Maybe you're still looking for your son, maybe this is for the Minutemen, but you still enter Diamond City. And it's full of shops and people. Neon lights flicker where they can, a diner that uses a traffic-light to try and pull people in. A casino, a theatre, and more! Once you spend enough time, maybe you get acquainted with the seedy under belly of Diamond City. Perhaps working with a synth detective to solve a murder most foul. Maybe this leads you to hunt down the mysterious Institute, maybe.

Diamond City should be a city, not a settlement. Let it be big and alive.

[limelocked]

text from the pictures goes under the cut because while i recognise that the text is small my main points gotta go above it, theres also some other fun things

-

okay heres some brief context for my conspiracy theory: art, which pottery is a very well preserving medium of, can tell how a culture spreads, we know that minoan crete influenced micanean greece because we've found pottery of the minoan style that was made in greece even if we barely know anything about the minoan people then we do know this, so the assumption im using here is that the pots are all of the same style which then presents sort of a narrative

domino 1

the trail culture has some sort of connection with the coastal warm ocean people and cold ocean people, they also have a connection to (or are) the desert people who made the pyramid and frequents the desert well that never dries up, using its water for potions and magic or worship. they also have friendly connections to villagers or something that looks like them to a point where they make motifs about them

domino 2

the guardian monument, at this point in time just barely above the water level so that the inside is dry but the guardians can enter and exit, is attacked by the cold ocean people for prismarine and other such luxury items. the cold ocean people trade these items so that they end up with the warm ocean people who seem to be peacefully fishing and taking care of the sniffer, cultivating the seeds they dig up

domino 3

Something happens. The warm ocean people may have caught a virus that make them immune to the dangers of creepers and find sunlight dangerous needing to take shelter under savannah trees, the sea level could also rise. We don't know exactly what happened but whatever did happen causes conflict on a personal level as seen by the type of damage done to the cold ocean peoples buildings. At this point contact either ceases between the trail culture and the ocean people as buildings are destroyed and in time, submerged. Or the trail culture sees ocean people joining them as refugees.

However much they flee, though, the trail cultures structures also get buried and forgotten.

domino 4, the end

the guardians now live in the water full time but are still amphibious. the pyramid well civilisation vanish and the waters have covered what remains of the ocean peoples towns as well as the sniffer eggs that are forced to go into stasis as hatching in the water is less than ideal, waiting for someone to bring them up to safe ground again.

-

there is something living on the bottom of the ocean. its not what it used to be, but they still live in their homes. not alive but not acting very dead, the ocean people are still there, looking like the player.

maybe the universe loves us

maybe the universe hated them

maybe the universe regrets what happened

VILLAGERS

Have square buildings made of stone and local wood types Buildings are scattered around an area but connected by paths Villagers look like the friend pottery shard, and spawn the iron golem which also looks like the friend shard

TRIAL RUINS

Their buildings are mostly made from mud, terracotta and bricks They loved color, everything is very colorful Prolific potters/pot makers and amazing glass workers A culture rich enough that it's worth inventing four (4) armour trims for your already expensive armour Have a central tower with a connecting building, a long straight paved road down from the tower with buildings or decorations like statues Pottery shards burn, danger, howl, sheaf, friend, heart, heartbreak (the last two being the only 100% abstract shards)

DESERT PYRAMID

Made of sandstone and terracotta, has two tower wings Pottery shards miner, prize, skull, and archer Created by a wealthy people as it's full of riches

DESERT WELL

Made of sandstone Very shallow Hasn't dried up since the pottery cultures time Pottery shards arms up, brewer

WARM OCEAN PEOPLE

Many sandstone buildings but only a few (2/8) are obviously houses They love their arches Uses terracotta (unglazed) and sea lanterns Many plazas Buildings are scattered loosely around an area Knew about and may have taken care of sniffers based where eggs are found Pottery shards angler, shelter, snort Might have been fishers based on the pottery

SNIFFERS

Thought to be extinct Eggs can be found in the sand in the warm water ruins Eggs hatch faster near moss They sniff out ancient seeds

COLD OCEAN PEOPLE

Stone brick buildings, many of them houses (5/9 small), (3/4 large), they have a small tower as well A mix of rounded and square houses Uses terracotta (glazed), prismarine, sea lanterns, spruce and dark oak planks, and bricks One large monument that mirrors one of the warm ocean plazas Buildings loosely scattered around an area Knew about the warden Pottery shards blade, explorer, mourner, plenty Might have been hunters or explorers based on the pottery

GUARDIAN MONUMENT

Guardians do not suffocate in air, they can survive indefinantly but spawn only in water Guardians are psychic or otherwise magic Pyramid-like structure with two wings 23 pillars that stretch to the ocean floor (like it didn't want to be flooded but needs to be near water for guardians to spawn)

ZOMBIES

Look like the player

Spawns in the underwater ruins

CONNECTING POINT: similar pottery style

-

random thoughts at the end:

i still actually think that the trail culture is nomadic, maybe herders and traders with semi permanent settlements for farming when the seasons allow for it, the ruins we find being those semi permanent structures that are more like waypoints or settlements along a path

the absolute wealth of having four whole different armour trims dude, i really like the idea of the trail people and pyramid people being the same but considering how not buried the pyramid is that might be a long shot, could be the remnants of the trail people tho, like finding traces of people during the bronze age collapse, their cities get buried and they keep the pottery style with them and they manage to squeeze out a new armour trim, and they extrapolate on the wealth part of their culture and do grave goods re: pyramid with so much hidden wealth

unrelated but since im tagging @nightshadeowl i might as well talk about the reconstruction work ive done, im not sure ill post the pictures because its very cramped on the flatland but the damage done to the cold ocean ruins is very much not natural, it looks like it blew the fuck up (it being the biggest house in the generation pool) and theres no sign of it ever having a roof even tho it very obviously should have, also the warm water peoples bungs stumped me for a long time because of the lack of houses, all the buildings are very artsy and i wonder why that is, one of the arches kinda reminded me of the ones at the ocean monument but i think that was coincidental

wish i could more easily summon in these things and shoutout to the blacksmithy in the trail ruins for also looking blown the fuck up, what happened to you to have no roof to be seen, weird spike terracotta walls, and a perfectly intact interior, only of its kind

[greenerteacups]

I’ve meaning to send this ask for ages and finally found the courage to do so :) I started reading lionheart on a whim in the beginning of November and since them after reading everything a couple of times, all I can say is that it is a masterpiece. I am so in love with your writing, especially with how you give Draco the space to be gracious and grow up. I love for example when they are in the Slytherin common room and Draco see for himself that the mermaids are sentient beings just like him. Also, I am completely enamored with the golden quartet (?), the relationships between them feel much more balanced, and I have so much love for Harry, Hermione, and Ron. I do think you does the characters justice, if not written in a better and more honest, human way. Btw, I love your Narcisa because I am such an apologist for her and her crimes. (If Narcisa has million fans, then I'm one of them. If Narcisa has one fan, then I'm THAT ONE. If Narcisa has no fans, that means I'm dead.). This also aplies for hermione. Anyway, all I am trying to do is to put into words what the world you design means to me, but alas I do not seem to have. When the time comes for my unborn children to read the Harry Potter series, I am showing them your books and telling them it is canon.

Now that I am done showering you with complements, I have a couple of questions. First, after reading the last chapter (which I adored), the fight between Draco and Sirius, one of my favorite moments, kept coming to mind. Was it intentional for Draco to give such honest wake up call for Theo basing himself from the talk he had with Sirius years ago? Secondly, I am not sure with you already answer this, if so, feel free to tell me, but if you could choose Poet, Soldier or King for each – Draco, Harry, Hermione, and Ron – which one would they be?

Thank you for taking the time to read. I usually download each chapter because I like to highlight my favorite parts, I will try to be more present on AO3! And sorry for any English mistakes, it is not my first language!

Thank you, my friend! This is a completely lovely ask, and as I often do with lovely asks, I've hoarded it for a while to re-read whenever I want a nice treat. However, I've left the question unanswered long enough.

If we're going to do the Soldier/Poet/King test, I want to complicate it a little. You can either do it by personality (the way we do when we say "I'm soldier!" or "I'm poet!") or you can do it by narrative role, i.e. what you actually do in the context of the story. Those can be different. For instance, you can be a poet-coded soldier (your chosen weapon is your word, but you're pushed by your circumstances to fight), or a soldier-coded king (you carry a mighty sword, but you're forced off the battlefield to rule, i.e. you want to fight but you can't). That opens up the range of ways to fill the role. So it's like:

Obviously, the central axis here is going to be the most satisfied/content with their lot in life, but there's a broad range of happinesses.

If you ask me, Harry is a poet-coded king, because he's incredibly reluctant to take leadership, and he doesn't want anyone to fight for him. He runs away in Deathly Hallows because he can't stand to be at the center of a war (which is going to happen anyway) and has only accepted Ron and Hermione's sacrifice begrudgingly. It's also worth saying that Harry's best moments come when he's trying to talk someone down: he's telling Remus to go back to Tonks, he's telling Slughorn to preserve Lily's memory by being noble for her sake, he's telling Riddle to "try for remorse." Harry is at his best when he's giving consolation and understanding, not when he's fighting; his signature spell is Expelliarmus. Kid's not a soldier. And he hates the idea of being a king. (This is, not coincidentally, one of the unhappiest combinations.)

I read Ron as a true soldier, not because he enjoys fighting, but because that's almost always his knee-jerk reaction to conflict, and it's also where a lot of his strengths lie. Ron is brash and bold and he will swing if you step to him, and that's why people love him (or hate him, if they do). Even in his best moments, when he's being a strategist and tactician, he's employing his skills in the service of battle. And the narrative is happy to put him in positions where that's the skill he has to contribute. He thinks of the basilisk fangs and the house-elves in the kitchens; he's good at tactics, but he doesn't do broad-strokes strategy.

Hermione is king-coded soldier, because I think in a different series of novels, she is absolutely the protagonist, and she kind of thinks she should be. She's proactive, driven, clever, and calculating, and she orders people around like she's the boss of them — usually with good reason, but she still does. She sees herself as the HBIC, and she often gets a bit irritated when other people don't jive with that idea. It's funny how often Harry gets along by just doing what Hermione tells him. That being said, her narrative role is being sworn in Harry's service, and as the books go on, she increasingly embraces that. She defends him and offers to risk her life for him, sacrifices volumes (her parents!!) and compromises her safety (gets tortured!) for his sake, all without complaining or seeming to begrudge Harry at all. He's her king; she's his knight. Which is another way of saying soldier.

Draco is a poet-coded soldier, or possibly a poet-coded king, depending on what direction you take his arc from the source material. In the books, he's kind of a flop, God bless him, he doesn't really manage much in the final days of the war. Besides refusing to identify Harry (after identifying both of Harry's well-known travel companions... booboo you tried), he's basically fit for neither use nor ornament from Book 6 onward. But taken more broadly, he is someone who absolutely does not want to be here — he doesn't want to fight, he doesn't want to be in danger, he doesn't want to risk people — getting conscripted forcibly into a conflict that was running for years before he was born. And he's conscripted, like Harry, because of his heritage; it's a position he was born into. Depending on how you read his relationship to power, and having it, he can either be a soldier or a king, or someone teetering on the cusp between them.

[helenofblackthorns]

this is your invitation to talk about all your two theories :))) thoughts on janus? the role of the princes of hell? pleaseeee feed me

thank you for this opportunity anon, as it turns out I have far more to say on this than I thought (buckle up for a massive amount of yapping)

firstly, Janus. He's an interesting character given all we know about him, but he also feels very straightforward. At this point he is being presented as an antagonist, a very central one at that, but in the scheme of things he seems very minor. He is nowhere near the same level of threat as the other antagonistic forces that we know await us in TWP, which brings his role in things into question. Normally, a tsc antagonist has some connection to the main character(s) and there is a specific reason why they become entangled (eg. Valentine is Clary's father, Mortmain created Tessa, Malcolm needed the Blackthorns to raise Annabel etc etc). Janus as a villain however has no obvious connection to any of the twp mains, and it's the total opposite when it comes to Ash despite the fact his motivations are known. He is focused around Clary, Jace, and the other tmi mains and given what we know its hard to see why he would come into conflict with Kit, Dru or Ty. There is the parallels between him and Livvy, but this doesn't seem antagonistic to me, he just represents a possible future for her (as Magnus said in gotsm, if she does not do great things, she will do terrible things).

All this is to say I think Janus is a massive red herring and not the person we should be worrying about. I think his relevance as a antagonist is going to come from his alliance to the Seelie Queen, who's motivations we know nothing about. She has been entangling herself in matters ever since she requested their audience in City of Ashes and we do not know why. It's especially obvious she's up to something when you compare her relevance in the modern timeline to the historical one, where I don't think she mentioned at all. Some of her actions are also suspicious, such as how she went out of her way to ensure Meliorn was the faerie representative. It's a plot point that gets resolved with the reveal she's working with Sebastian, but Sebastian was dead when she did it and I doubt even she would have known Lilith was going to raise him from the dead. This implies she had different plans that she then abandoned to aid Sebastian, because he could give her something she wanted; Ash. Ash clearly holds more significance to her than simply being her child as the Seelie Queen has only ever had two children, Auraline and Ash, and they were born over 200 years apart. There is clearly intention behind this, there is something that both the Unseelie King and Sebastian have in common that the Seelie Queen wants her children to have. What her plans are, we probably won't know until twp, although there may be hints in the Better in Black short story.

Like the Seelie Queen, the Princes of Hell are also likely up to something big behind the scenes. The last time we've seen from any of them was in 2010 with tlbotw; they're entirely absent from tda. This is strange as it makes tda the only series where they do not make an appearance or play a role in the story (side note I do include Lilith as a Prince of Hell even though she's technically not). Which is extremely suspicious and it's very likely that not the case, and that it'll be revealed that they have been influencing things in twp. Thule especially is something I think they're involved in, for a number of reasons. We're told the thing that altered the timeline was a powerful demon giving Lilith the strength to kill Clary, and CC said on tumblr the demon is one who is associated with Lilith in mythology. At the time (2018) CC was very mysterious, but we know enough about the PoH now to make a very educated guess that it was Sammael. Also, it's always struck me as odd that there was such a massive passing of time between Annabel & Ash coming to Thule and Emma & Julian following them. Every other time someone has gone through the portal, time has passed more or less the same and if there was discrepancy it's very minor, nowhere near the years that Ash was in Thule for. I would not be surprised if someone (Belphegor?) manipulated the portal to ensure Ash was in Thule for a certain amount of time before Emma and Julian could interfere with anything. Why the PoH would want any of this I have no idea, except poor Ash is seemingly a pawn in their plans (again) (free him for all these evil plans hasn't he been through enough?)

There is also Lucifer, who is by far the most mysterious tsc character and we know next to nothing about him. However, in the PoH art series CJ did, it does say on Belial's page that a) he claims to have convinced Lucifer to rebel and b) he is sometimes called the "father of Lucifer." A lot of the information in these arts come from preexisting Jewish & Christian mythology and can be easily googled, but that doesn't seem to be the case here. Either it's more obscure or CC made it up herself which is slightly terrifying because what does that mean. is Nate losing the title of Tessa's worst brother 137 years after his death?? ig we'll find out in 2026

[awesome-cookies-and-cream]

the funny thing about kyuushi is how it drops lore in akajas instead of the main manga but because it’s an episodic gag manga, i guess you can’t help it. but with all the lore i got so far (and what a difficult thing it is. thank you dedicated fans) i think i like how the central theme really is the human-vampire (esp hunter) relationship.

am i really writing meta about the vampire cock and boobs show? of fucking course. though less than meta it’s just me writing my thoughts

but with the recent akaja with northdin, it really occurred to me that the lore’s narrative had always hung on the fact that the 1800′s was a difficult time for everyone and now times are changing. how the vampire-human conflicts probably had so many casualties and how what we’re seeing is the aftermath of the event. a post-war recovery, if you will and it’s been centuries sure but vampires live so long it might as well be just five years ago to them. the vampire lore seems to be a story about how you deal with the after effects of conflict when you live so damn long. in fact, it’s so deep in the dragon clan’s narrative, that their feelings of loneliness, failure, and frustrations all goes back to that time.

Grandpa misses his friend (who is a hunter lmao) and thinks wistfully about how the time has changed and humans and vampires working together is such a lovely sight (as seen when he played tag with everyone in shin-yoko). he misses helsing so much and hopes he was still around to show what humans have done in the present. “Take care of your human friend” he says to Draluc, looking so sad most of the time but trying to connect with humans due to his fondness for them.

Mira doesn’t care much for humans but because of the conflicts and her hopes to make a better world for her son, she ended up not seeing him throughout his childhood and not even knowing him 200 years later. she doesn’t know the man he’s become. she doesn’t know he has a familiar. she doesn’t know he loves his friends and he’s happier with them. she knows he was lonely but simply thought it was her failure that made it so. so she selfishly kidnapped her own son and turned him into a kid again to fulfill her own desires. she was worried and frustrated at the fact that she seemed to have missed her chance to be with him until draluc pointed out that there was still time to get to know each other

Draus sheltered his son and did all he could to keep him safe knowing he was weak. (when northdin mentioned how seeing draluc die was so chilling, he understood why Draus was like that) the human-vampire conflict worsened his anxiety for his son who could not use the dragon blood’s powers due to how weak he was. so he ended up spoiling him, his only son. he even made a ring to ensure the kid’s protection from other clans. he met with the other clan leaders and in his own way and influence, tried to make the world a better place for him. By the time his son sought independence, he still couldn’t help but worry about him.

And then there’s northdin who does not like humans at all. like Draus, he worries for Draluc in his own way even when the kid had no respect for him. (like fucking hell that akaja) he’s anxious about trying to make the kid stronger because the human conflict is getting worse, which was why he took the kid under his wing to begin with. He cared for the kid to the point of running straight to them when he found out an exorcist had found draluc, even begging that he could drive a stake to his heart if he promised to keep the kid safe. and it was this that changed clergy at the time of the human-vampire conflict too! which led to northdin turning him and how he’s lived with the regret when he didn’t wake up to the point that his diary is a mess (again that fucking akaja) and now they met and there’s closure to it.

and then there’s draluc who is caught in between. being young and sheltered to not know enough about the conflict (i mean he sat and had tea with a goddamn exorcist lol) and having experiences that’s indirectly caused by the conflict. his weakness and sheltered life in the middle of the fights had isolated him from others, but also made him lonely. his mother couldn’t see him due to her work. he didn’t have friends and he was treated as a delicate thing. his first friend was John, who he was reluctant to take with him due to the fear of trapping him forever in a life of eternal loneliness with him (even though he was so overjoyed at finally having a friend!) “im not lonely. i have john” but it’s different now that he’s in shin-yoko. everyday has been fun for him.

and now, in the present you can see how these people are trying to heal from the aftermath and how ronaldo and draluc’s relationship is somehow central to it, the proof of the future they had aspired, or the closure they had always wanted. ronaldo and draluc’s easy friendship has touched grandpa, who had always wanted the easy friendship between vampires and humans (edit: i reread the grandpa tag chapter and he had a flashback of his friend through ronaldo?? god fucking dam), how ronaldo and hinaichi looking for draluc when mira took him made her understand that his son is not the kid he used to know, that she didn’t really know him but it’s not too late to. How Ronaldo being there to take care of draluc had reassured Draus that his son would be okay and he won’t be lonely. (northdin is a work in progress lol. but he’s also working on his issues with his guilt for clergy. which draluc was responsible for ahaha) 

and now Draluc is no longer lonely and has someone to be with. someone who is always fun and doesn’t treat him like a delicate flower (for better or worse) but is also reliable enough to save him (ranging between kidnapping to the getting flushed down the drain lol) and they’re trying to love happy now. a lot of vampires are. so i think it’s nice. i have no idea what im saying.

[teh-kittykat]

Tron: The Animated Series (1986-1989)

What do you mean you haven't seen Tron: The Animated Series? It was my favorite cartoon when I was a kid!

So this all started as an exercise in how to explain why Sam inexplicably had merch for a 2010 movie in his 1989 house. In-universe there would have probably been toys using the 1982 aesthetic since that was what the video game used (and Sam DOES have an 82 Tron figure in his house!) but why the Grid stuff?

Enter THE CARTOON.

It was the 1980s everybody who was everybody made cartoons to sell toys. Encom made home gaming consoles by this point, and they would have had peripherals like Nintendo did. They had licensed characters like Nintendo did. You see where I am going.

Encom wants to sell Encom Gaming Power Gauntlets. Kevin wants to introduce kids to the ideas about the Digital Frontier since he's a futurist and knows kids will be mentally flexible enough to digest the new zeitgeist if it's fun and animated!

Production of the cartoon ran from Kevin's official retirement as CEO until his disappearance. Three official seasons with a fourth in production. Season three's airing was cut short due to the furor surrounding Kevin's going missing, but the "lost" final episodes of S3 were restored when the DVDs were eventually released for an anniversary collection.

The cartoon was also successful in syndication through the 1990s and early 2000s since it successfully anticipated the Educational/Informative movement-- Tron: The Animated Series actually does teach kids some of the basics of computer science around the silly adventure stuff. Think Captain Planet meets Captain N the Game Master for the overall tone of the series. It's not realistic, but you get the general concepts and issues.

The cartoon's popularity among millennials keeps Tron alive in pop culture to the present day. The IP remains a perennial revenue stream for Encom, and every so often they'll throw the fanbase something to keep the money going. (This is an ordeal to the program himself, since he has to deal with hackers sent by groups named after him on the reg.)

What's it about?

Young video game enthusiast Jethro "Jet" Keene lands himself the after school internship of a lifetime getting to work at Encom in a special new program for teenagers with attitude run by Kevin Flynn (voiced by himself).

However, it's not all fun and video game testing with the sweet new Encom Power Gauntlet. Thanks to some cartoon physics hijinks, Jet finds himself transported into the Grid, the Boss's new experimental computer system!

Jet gets to work with Clu (they hired a voice-alike for him) and Tron (ditto) to find a way back home to the real world, solving problems and learning how to code along the way... and that was the pilot episode.

Because this is a cartoon for children, Jet is naturally the regular User of the Grid instead of Flynn, though Flynn makes occasional appearances to dispense Yoda-like wisdom and is revered by all the programs inside the system as the Creator.

There are also no lasers or anything like that-- Jet does a silly toku-like thing with the power gauntlet to commute into the system.

Clu is more likable than in real life. He's mostly benevolent, trying to make a more perfect system but the show's writers actually picked up on the idea that making a perfect system is kind of an impossible lift and made it central to his character development. He's a little obsessed with copying the User world, and there's an arc in S3 where a lot of the conflict revolves around why can't programs be programs about it.

Tron's not a mayhem goblin, which is a crime. He's portrayed as a little bit Optimus Prime, since Jet's the primary mayhem source, and Fighting for the Users is otherwise his defining personality trait. He gets a surprisingly deep fate/free will arc in S2, since naturally several episodes revolve around attempts to reprogram him since he's the Champion and all. Afterward, he's a bit more chill.

Jet's storyline parallel's Kevin's real-life one a little bit-- a lot of the episodes focused on him as a character revolve around him trying to balance his double life.The cartoon also does not mention the time dilation jetlag. Jet, unlike Kevin, does learn how to ask for help, especially as S3 decides to diversify a little more and adds a girl intern, Paige.

S3 in general has a lot of emphasis on diversity and tolerance of others and their differences. The ISO-Basic tensions were running high in the real Grid. It was on Kevin's mind a lot. He was also starting to make thinks on introducing the ISOs to the rest of the world at the time.

Like Reboot in the 1990s, Tron has a lot of episodes devoted to video games and playing games on the Game Grid is a frequent trope. (Hardcore Tron partisans accuse Reboot of stealing this.) Unlike in Reboot, there's no derezzing the losers if the User wins. Games are sometimes the entire plot and sometimes an obstacle or diversion from solving an episode's actual problem.

Since the Grid is open in Tron, there is a recurring cast of villains in the form of viruses and hackers from other systems in addition to technical problems that have to be solved through coding and computer science know-how.

The fourth season didn't get much past a few animatics for the S4 pilot, but what was there got a release for the fancy anniversary collections as special features. Design docs indicate that some new characters were about to be introduced-- Jalen and Radia. Kevin Flynn disappeared while voice actors were being cast for these roles.

NGL I am extremely mad this wasn't a real cartoon.

[clearancecreedwatersurvival]

Saw someone say that the wheel of time show has nothing in common with the books and this is. So not correct.

If you want to see what a show looks like when it has nothing to do with the source material, watch Netflix’s take on the witcher. That’s what happens when not only do the people adapting it not care about the source material but the showrunner actually has stated on record that she dislikes the source material. The witcher on Netflix fucked it up so bad that the lead actor, a huge fan of the source material, walked after three seasons. (I have been informed he actually left due to onset conflicts and instances of being misogynistic to his coworkers. Still a bad adaptation but I rescind this point) Pretty sure the entire country of Poland has disavowed this adaptation and the author wants Nothing to do with it.

The wheel of time is the total opposite. It is Extremely clear that the people working on it and the showrunner love the source material.

This production is running off a shoestring budget. Amazon put most of their high fantasy money into the rings of power (and the effects for the volcano eruption). And rather than being given enough seasons to adapt the entire book series, they’ve been given 8. To adapt 14 Extremely long and complicated books. How many named characters are there in the wheel of time?? Over 3000.

They are being given a very short time frame to accomplish a LOT of plot. Of course they’re going to cut stuff. Of course they’re going to combine characters. Season 2 is covering both books II and III! But they are focusing on the arcs of all the major characters and making sure they are set up for all their major character beats, and setting up the power players and institutions that matter in the larger geopolitical conflicts of randland. Sometimes that means making one character have later parts of their own plots sooner than it takes in the books (Moiraine and Mat in particular so far).

There are a lot of people saying it’s a bad adaptation mostly because a. They’ve made any changes from the books at all and b. Too many characters are gay now. Admittedly most of the people complaining about the adaptation having too many gay characters and nonwhite actors are on Reddit, but still. Both of these are of course nonsense. Of course you have to make changes in making Any adaptation of any book but trying to do the wheel of time in 8 seasons is a Herculean task. That’s why RJ made it 14 books, he tried to do it in less and failed cause he was an adhd king.

Rafe and the other writers have their own particular interpretations of characters but they Are interpreting the original work in a way that holds all the core themes. This season in particular is doing a great job so far of establishing the threat of the seanchan and the trauma of when channelers are cut off from the one power, both of which will of course be central focuses of the rest of the narrative for all of our main characters. I’m Really looking forward to the introduction of the Aiel this season as well.

Also if you’re mad there’s so many queer characters Come The Fuck On. Siuaraine is book canon, go reread New Spring. And I think making the polycule an actual polycule instead of a Mormon sisterwife situation is a fucking Brilliant choice. Making polyamory overtly present in the world already with Alanna and her warders is so good! And given they’re already coding Min as bi I have high hopes for Aviendha and Elayne as well (and also Mat, Mat should join the polycule I am crossing my fingers and toes like I know he’s probably gonna marry Tuon still but Come On he deserves to be in the polycule). If there is one thing I trust Rafe and co. to do well with this adaptation it’s the queer stuff.

Like I get it I’m also sad Uno had to die to make the Seanchan look more badass (r.i.p. my favorite foul mouthed bastard). But they have to make changes in the course of adaptation and if your criticism is just ‘they changed something,’ then please look at the holistic context of the changes, and accept that every adaptation of every book will make changes in order to translate the story to film.

[belit0]

can you do a yandere madara who’s like closed off and reserved from his wife but eventually she gives up and he’s like oh ur not leaving! omg this sounds dumb asffff

Oh, don't even say this is dumb! If there's an Uchiha I can totally picture as a Yandere, it's definitely Madara, so this was fun!

TW: Yandere! Madara

Pairing: Uchiha Madara / reader

Despite being an arranged marriage, (Y/N) was genuinely excited to be paired with one of the strongest shinobi in the world. It wasn't just his legend she was drawn to, but the beauty this man carried. How could one be so handsome and powerful at the same time?

When the proposal came to her village, her father was quick to respond, unable to turn down the opportunity to marry his firstborn to one of the most influential men in the five nations. To have the Uchiha as allies, more so, as a family, was an opportunity only a fool would turn down.

As soon as the arrangements were made, (Y/N) was sent to their lands to embark on her new destiny, having to live with a man she had never seen in person. Nothing stopped her from keeping positive thoughts, visualizing the wonderful future she would lead with the head of the largest clan in the country.

She was greeted with a warm welcome from the entire village except for Madara.

The man she was supposed to love for eternity simply waved at her from afar, complied with all the formalities, was present at the wedding, and disappeared completely. Not caring if (Y/N) was all alone in an unknown land and far from her family, he chose to keep busy with his duties as leader rather than spend time with her.

He would arrive late at night when she was already asleep, and leave early in the mornings before she woke up, (Y/N) would hopefully bump into him at some point during the day, while walking around the village or socializing with whomever she encountered.

It became a very lonely situation, the opposite of what she thought she would experience being here. She ended up as the pretty doll of the headman, who barely spoke to her.

All her obligations, as her father had instructed her, were fulfilled, and she avoided causing a scene about her situation just so as not to bring conflict to her family. She did not feel comfortable enough with anyone to discuss what was troubling her, having minimal and general contact with the women of the clan, and none with the men, who stayed away from her out of respect for their leader.

It all culminated in chaos when they had to attend her brother-in-law's birthday party. Izuna was celebrating in splendor, throwing a party for everyone in the family at the central house, and not skimping on food or drink. Everyone would celebrate along with him on a magnificent night, full of light, fun, and fire.

(Y/N) was adorned and dressed in luxurious and expensive clothes, things she would have marveled at long ago had she not been going through what she was currently enduring. "Lord Madara sent these to you, Madam (Y/N). He hopes they are to your liking."  Reported the maid who was helping her dress and beautify herself.

She had been there for three months, and it was the first gesture the Uchiha had made to her. What infuriated her the most, was the man not even deigning to hand them to her, as if he wanted to avoid her at all costs. Did he hate her? Did he sacrifice himself in marriage as a political move, with no hope of getting anything positive out of the experience? Did he even want her there?

A million questions ran through her mind daily, and receiving that gorgeous attire simply triggered more. (Y/N) could not utter a word on the matter, allowing her maid to help her in silence. She finished getting ready when the night was well advanced, and the birthday boy was supposed to finally announce his presence with a triumphant entrance.

Izuna's orders required Madara to be there watching him play out his scene, and that meant, according to the policy of their marriage, so did she. As appearances and laws demanded, she would sit like a precious puppet, smiling vacantly and interacting with whoever approached her, feigning happiness and gratitude to her husband.

Thus, she spent most of the evening perched next to her husband at the main table, eating and watching as everyone wanted to be near him, trying to generate conversation about even the simplest things.

At some point in the night, when almost everyone was already drunk, Izuna decided to say some special words of appreciation. He called for everyone to gather around him, and requested Madara's presence at his side.

(Y/N) expected him to at least pretend, take her by the hand and invite her to join her in the center of the meeting with his younger brother, but to no avail. The man simply stood and ignored her completely, smiling at Izuna. The crowd cheered for him and everyone applauded, closing the circle as the two brothers hugged and laughed at the night protagonist’s drunken words.

She decided enough was enough. It was one thing to ignore her in private and keep up appearances in public for everyone to trust in their romantic and perfect relationship. It was something else entirely to disregard her in front of everyone, not even validating her presence at his side, not recognizing her as his wife in front of an event as important as someone's birthday in the family.

Shut away and forgotten at the edge of the limelight, she decided that was it. She would sneak off and lock herself in the room they were both supposed to share and write a letter to be sent immediately to her father, in hopes he would understand the situation, and allow her to continue the marriage from afar, from the happiness of her home.

It's not like the Uchiha would care if she was there or not, having scorned and neglected her since her arrival. They probably shared the most eye contact at their wedding, with the man not even bothering to consummate their marriage. Madara avoided getting into bed with her, disappearing into the evening festivities.

(Y/N) slipped away slyly, ignoring the curious glances directed at her. She was almost at the door, when one of her maids called out to her, "Madam (Y/N)! Where are you going in such a hurry? Aren't you enjoying the party?"

Despite the ambient noise, people shouting and laughing, and all the chaos of the celebration, the girl felt a pair of special eyes boring into the back of her head. Meters away and among all the family separating them, Madara was staring intently.

She felt apprehensive about those black orbs, his invasive and violent gaze, and had the urge to run, to hide where he couldn't find her.

Ignoring him, (Y/N) made a successful exit, making her way to the privacy of her chamber. She set to work immediately, looking for paper and ink to write. Halfway through her letter, she heard the sliding bedroom door open, and footsteps approaching her.

"What the fuck do you think you're doing (Y/N)?" The first time her husband had articulated more than two words in a sentence to her. He caught her in the act, making her scratch the paper with an unplanned line of ink.

"So, you know my name, I'm impressed..." She was trying to maintain the appearance of a strong woman, stand up to the man everyone fears, and not be intimidated. Her lucky attempt ended when the Uchiha lifted her by the arm, pushing her away from the desk and slamming her against the wall.

He enclosed her in his arms, leaning dangerously close to her personal space. "You're going to stop acting like a spoiled brat and face the reality of your new life. You're not going anywhere, and if you try to escape, your family's village will be reduced to ashes by my own hands."

He kissed her hard, catching her off guard and forcibly, (Y/N) wasn't sure whether to shift her face or give in, but Madara's momentum left her no choice but to take it and reciprocate. She finally got what she had longed for, but at what cost?

"You don't want me here, you don't desire me as a woman, you don't see me as a wife, you won't even talk to me or look at me!" Her eyes filled with tears, humiliated in front of the man who should love her.

"Things don't work the way you want them because I call the shots, I dictate how everything works. You will be my beautiful wife and you will open your legs when I want you to like the good woman you are, otherwise, I will force them open for you. Fuck, maybe we'll even love each other at some point. Behave yourself, (Y/N)."

With the end of his statement, he lifts her into the air, scooping her up in his arms and tossing her carelessly onto the bed.

"Now, let's finally consummate this marriage, shall we?"

[literary-illuminati]

2024 Book Review #35 – To Say Nothing Of The Dog by Connie Willis

This was my second shot on reading something of Willis’, and I found it far more enjoyable than the first. Which is something of a feat, honestly – it’s a rare book that you can more-or-less accurately describe s a ‘cozy romcom’ that doesn’t make me recoil. But it was charming! And dated, but mostly only charmingly as well.

The story is the second in a series, which no one ever told me when recommending it because it does not matter in the slightest (at least, I had no issues at all following along with the story) – though it does mean that it hits the ground running and requires you to pick up quite a bit from context for the first while. It follows Ned Henry, a historian at the University of Oxford in the mid-21st century – a field that has been changed dramatically by the invention of time travel. For example, it’s suddenly in desperate need of particle-accelerator money, which is why and the entire rest of the department have been conscripted by an incredibly generous donor to help her reconstruct Coventry Cathedral exactly as it was before being destroyed in the Blitz. Exactly. ‘God is in the details’, and Henry has spent subjective weeks running himself ragged attending wartime rummage sales and sifting through bombed out ruins to try and verify the fate of a glorified flower pot mainly notable for being overdone and ugly even by Victorian standards.

After going through so many rapid-fire temporal shifts that the jump sickness leaves him waxing rhapsodic about the highway and falling in love with every woman he sees, he’s sent to Victorian Oxford to lay low and recuperate, and deliver a vitally important package to a contact already in situ. Unfourtunately that jump sickness means that he’s pretty unclear on the particular what and who. Really it’s remarkable that things don’t spin even more wildly out of control than they do (and there’s a period where he might have accidentally made the nazis win WW2).

So yeah, not what you’d call a serious novel. Most of the plot is sneaking around trying to make sure various members of the Victorian gentry fall in love in the right pattern to make sure someone’s grandson can fly in the RAF down the line and someone else elopes off to America on schedule (with drastically limited details and new information from back home changing things ever so often). Also sneaking a pampered rare-fish-hunting pet cat and slothful bulldog around before they arouse the wrath of their hosts. The apocalyptic threat that’s theoretically hanging over everyone never really feels real, and it’s all just pleasently absurd and enjoyable to read.

The comedy reminds me of early Prachett, in a way? Which like, a light comedy from the ‘90s in large part poking fun at English academia, of course there are similarities, but still. Not that that’s n insult. There’s plenty of absurd situations caused by miscommunication or desperately trying to work around absurd social conventions or personal foibles. Almost the entire Victorian cast (and a decent number of the present-day characters as well) are objectively ridiculous people, and the book has a lot of fun making do the literary equivalent of chewing scenery for the camera.

I call this a romcom, but I’m not ever sure that fits, honestly. It is a comedy with romance, between the two lead characters, whose dynamic with each other is the main throughline of the book. But it’s never really a source of drama? Or a motor of the plot. They are coworkers who end up working in close confines and get alone fine, who both awkwardly admit they find each other very attractive and start flirting and at the end they kiss and adopt a cat together. Least miscommunication- or conflict-ridden central romance in fiction you’ve ever seen. I don’t know enough about the genre constraints to determine whether it counts or not.

Part of the appeal of this was honestly the odd ways it came across as a bit dated? Not at all in a bad way but just, like – the fixation on the Blitz as the sine qua non of English history feels very 20th century? The references to the Charge of the Light Brigade and Schrodinger’s Box and Three Men in a Boat, combined with the felt obligation to step back from the narrative and explain what they were in case the reader wasn’t aware – just the idea that someone reading a time travel story won’t already be familiar with the concept of temporal paradoxes, really. It all added up to a reading experience that felt a bit off-kilter in a pleasing way.

This is obviously a story very fascinated by Victoriana – both the time period and the popular memory. Its perspective on the period is – I guess ‘affectionate contempt’ might be the best way to put it? It clearly doesn’t think much of the Oxfordshire gentry, the women shallow as a puddle and obsessed with marriage gossip and spiritualism, the men with their heads stuffed with some academic fixation and utterly divorced from all practical affairs, both obsessed with petty one-up-man-ship of their peers and casually abusive and callous towards the servants who run and organize their lives for them. But it all feels rather good-natured; not a trace of righteous fury or real class hatred is on display, the fact of the empire and the source of their fortunes is I think not even mentioned. One more way it feels a bit dated, I suppose, or maybe just a way my usual reading’s much more explicitly political about these things.

I’m also not sure if this is a matter of tastes or popular memory changing or just my impression of what the received common wisdom is being parochial or inaccurate, but – given the association of ‘Victorian’ with imperial grandeur, aesthetic superiority, eye-wateringly expensive historical real estate, etc, it is quite funny how the book takes for granted that to be ‘victorian’ means to be horrifically gaudy and over-designed, devoid of elegance or restraint, and to have probably ruined some real medieval beauty in its creation.

Anyway yes, you absolutely could dig into this book and write some meaty essays out of it, but I simply was not reading it closely enough to do so. It’s probably overlong and definitely meandering and unhurried, but I did find it a really enjoyable read.

[thatscarletflycatcher]

I am extremely interested in your draft/post about Downton Abbey and the timeline 👀

Important disclaimer: I was never in the fandom of the series, so I'm completely ignorant as to word of god and fanon, and might have forgotten some details of the plot as the years have passed since I watched.

*video essay voice* (bear with me) in 1980, British playwright Peter Flannery, while watching rehearsals for Henry IV, felt inspired to write his own historical epic, a Shakespearean sort of short History of his native Newcastle from the 60s to the present, interweaving the personal History of 4 "friends" with the big historical events of Britain through those years, to create a strong political narrative through them, but that was life-like enough in its everyday life details and turns as to feel real. The characters deal with their desire to change the world, achieve success, recognition, or even just survive, and experience hope and hopelessness by turns*

This theater play, called Our Friends in the North, caught the eye of the BBC, and after several back-and-forths it was adapted into 9 episodes in 1996. It was a big bet (it cost 8 million pounds to produce) and a big hit, and I do get the gut feeling that in some corner, the first season of Downton is inspired in OFITN as a concept, a sort of Our Freenemies in Yorkshire, but that its own success derailed it into a different direction, and made it Edwardian-Roaring 20s Aristofairytaleland, the same way Regency Romance tends to take place on a Regency Fairytale land full of dukes and none of the social, economical and political problems of the time.

S1 of DA hinges around the "Death of the old world" theme: it opens with its first marker (the sinking of the Titanic) and closes with the last marker (the beginning of the Great War). The central plot is that of the survival of Downton as a place and an institution -the kickstart is the death of James and Patrick aboard the Titanic, and the next heir presumptive being a middle class lawyer, an outsider to the aristocracy. The old, dying aristocracy, managed to patch up their situation by marrying rich American heiresses, like Cora, but it doesn't have any vitality for the future: the heir (Robert and Cora's son) is born dead. The question then is "can the aristocracy make a bridge with the raising professional middle class, merge with it in order to gain new life?" that's what Matthew's plotline this season is all about, specially in his growing and changing relationship with Robert and Mary (who are the epitome representatives of the aristocracy, with lady Violet): there is a small seed of aspiration that grows through the season, but gets quashed once he realizes that as much as he has grown to care for the Crowleys, they haven't really grown to care for him as anything but an uncomfortable necessity. And so he leaves. And the Great War begins. No compromise can be reached, the old world is dead.

I don't think I say anything controversial when I say that Fellowes and Downton as a series loves Mary with undying devotion; she gets a second chance at Matthew in s2 that she wouldn't have gotten IRL, and she would have kept Matthew forever if the actor didn't want out. And I think Dan Stevens wanting out (and Jessica Brown's to a certain extent), and as much as he can say within the bounds of politeness, has a lot to do with a sense that the series he signed up for was not the series he ended up being in on the follow up seasons. Matthew, who was a central character to the main plot of the series in s1, now gravitates Mary's storylines, because that pressing conflict of the inheritance is solved, and he can be disposed of as soon as he produces a male heir without causing any plot-ripples. A story about Downton the house as anchoring to class conflicts and point of connection with big events becomes a story of Mary and her relatives with Downton as a mainly aesthetic backdrop as s2 progresses (yes, yes, every once in a while some lip service is given to "money troubles" and having to downsize, but it's just... that).

As seasons progress, as well, the historical markers to open and close a season disappear, and so do... general historical events at all. The story gets atomized and more and more separated from History, and "the old world is dying" theme vanishes.

So, now, on this premise (that Downton S1 and Downton s2-6 are different animals, with different core themes and structures) where do I think a true continuation of S1 would have gone?

Mind you, I haven't plotted five series to detail, because I'm not that invested. But also it feels like DA the series itself started running out of plot after s4 anyways, so, in general lines:

The same way OFITN did (episodes were each set on a different year: 64, 66, 67, 70, 74, 79, 84, 87, 95) every series would have a time skip that would tie in with bigger scale events in Britain and the world (the end of the Great War, the Spanish Flu, the crack of 29', etc), and in my mind I would have it cover until the late 1940s: the series begins with a middle aged Robert and Cora, and ends with a middle-aged next generation.

Matthew does actually marry Lavinia, and takes William with him as they bonded in the war, and goes back to his job. They try to keep their distance from Downton, but, of course they keep getting drawn in because of the inheritance.

Matthew's marriage to Lavinia means a vital wake-up call for Mary: she -and by extension the aristocracy- cannot always get what she wants, even though her name and status carry a lot of importance. But she also experiences new freedom because her choice of husband has now no influence on the fate of the estate. I think she'd choose to travel a lot, in ways that would widen her mental horizons and change her feelings and perspective about her family. I even feel like her marrying Henry Talbot in the end makes sense; she remains ever the aristocrat (although I'd think she'd marry later, probably past her mid-30s, a spirit of the new times).

Sybil's storyline remains the same, minus death (in this scheme, the core characters that thread the timeline are the Crawley sisters AND Matthew), but she never returns to Downton to stay, and it is through her and her visits that we do get the perspectives and storylines of the process of independence for Ireland, and her complicated position as wife of an Irish man but daughter of a British earl. You can even get stories in the later years storylines like Marygold trying to run to Ireland and her aunt after WWII breaks.

A similar thing goes for Edith; if Mary is and makes the choice of aristocracy, and Sybil makes the choice of a working class life, then Edith embodies a commercial-professional upper middle class aspiration (in fact, I do think that her punching-bag status in the series has a lot to do with Fellowes derision of that class), so it makes sense for her to do most of the things she does towards her place in life; just cut some of the drama and no sudden marquess nonsense in the end. Edith and Bertie marry and remain successful editors/printers/periodical owners.

As for the house itself, of course Matthew inherits (you could set Robert's death for 1929, and then have a Lavinia inheritance save the estate after Robert's failed investments like it goes in s1). I do think this lends itself to interesting dynamics, specially with the servants, considering the aristocratic head is gone and the Great War significantly changed the self-image of the serving class, plus the return of William now in a much more privileged place; but also with Cora as the new Dowager and Lavinia as the new Lady Grantham. How do the children adapt to their new home and status? How did their parents conduct their upbringing? I think you can do a lot there (I'd assume just two children, a boy and a girl).

I do also think it'd be interesting to contrast the rising tensions in the 30s as Mary perceives them through her continental travels -I can imagine Henry Talbot joining the foreign service and getting at least obliquely involved in spy shenanigans- and Edith through her very localized work.

The Kingsmen movies play with this idea of WWI creating a generation of fathers who buried their sons and had to take their places. The Crawleys escape this by having only daughters, so I think it is fitting for Matthew and Lavinia's son to die in WWII, and for the daughter to become a war bride and move to the US, as the centre of power moves from the UK to the US.

Downton, more and more difficult to maintain as the years pass, cannot survive the economic blow of WWII, and Mathew and Lavinia, now middle aged, don't have the energy and vitality to begin again; and so they make an arrangement with the just-founded National Trust after the war ends: the main part of the house becomes a museum, but they still get a part of it to live in. I think, after a family reunion tea/party to wrap things up, you can have as a symbolic last shot, a close up of Matthew's hand as he turns over the keys to the Downton gates to the National Trust agent, CUT TO BLACK AND THE DOWNTON ABBEY THEME.

So, hm, that's pretty much it. Please do not maul me to death XD

*While I think the series was very well written, I'd hesitate to recommend it here as there was too much explicit nudity and sexual content for my taste and that of many people here. The 2022 radio adaptation seems to be faithful to the original tv series and avoid that problem, but of course you lose on the other visuals that are quite impressive (and believe me, besides some awkward wigs and make up, they really did blow up that 8 million pound budget in many ways).

[thevindicativevordan]

I don't think I've seen you talk about him but what are your thoughts on Captain America (Steve Rodgers)? Seems for all of Marvel's various Superman expies, he's the one most fans from what I've seen will say is Marvel's equivalent to Superman.

Spider-Man is the real Marvel equivalent while Hulk is the real Marvel contrast, which is probably why I've never been too enamored with Cap. He's a fine enough character but never one I've considered myself a devoted fan of.

Don't get me wrong, Cap has loads of excellent comics, including the oft cited Brubaker run. No doubt in my mind he has a much higher stack of quality comics than Iron Man does. Other than wearing a red and blue costume and being seen as the moral paragon however, he and Superman don't have much in common. Superman is a superpowered alien whose heritage is foundational to who he is. Cap is a superpowered human whose immigrant heritage is frankly little more than a footnote. You could easily make Steve the descendant of Pilgrims and it wouldn't change much. All that matters is that Steve Rogers was a weak, sickly kid who was pure of heart and embodied the best of America's ideals, with the Serum giving him the body to match his spirit. Defining what those ideals actually are is totally subjective and arbitrary because America itself is an inconsistent bag of hypocrisy.

Another feature of Cap's character is that at heart, he is a war comics protagonist. Even when his "wars" are set in the present, they always tie back to the events of the 20th century. If Superman is about the hopes and fears of the future, as befitting the Man of Tomorrow, Cap is about the sins of the past returning to haunt us, as befitting the Man Out Of Time. His greatest foe is fascism's counter-icon, the Red Skull. America's 20th century conflicts with Nazi Germany and Soviet Russia form the ideological foundation for most of the foes Cap fights against. Lex Luthor might have fascist elements, but he is not an outspoken proponent of fascism in the way that Skull is. There's no avoiding that America as a nation and a concept is central to Steve in a way it isn't for Clark. Steve's relationship with America - including it's past and present actions good and bad - is the central component of his character, whereas for Superman it's his relationship or lack thereof with Krypton.

Even as a contrast I don't think Supes is the best DC character to pair with Cap. Oddly enough, Batman is the better choice:

Steve and Bruce were both orphaned at a young age, but Bruce had money whereas Steve grew up in poverty. Bruce is a WASP whose roots stretch back to America's founding, whereas Steve is the son of Irish Catholic immigrants. Batman is the dark and cynical one who never kills, where Captain America is the bright and optimistic one who sometimes does. They both lost partners who returned as antagonists. They both are master tacticians, fighters, and leaders who transformed themselves into the peak of human perfection in order to win a war. Tellingly it's Batman with whom Steve shares a moment of empathy in the JLA/Avengers crossover, and I believe there's more to be mined from comparing and contrasting these two.

Short version? Interesting enough character, not one of my favs.

[itstokkii]

for @hwsasiaweek day 2: uzbekistan + food + "a smooth sea never made a skillful sailor"

in which uzbekistan can't let go of her qazon and explains why

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It was a Thursday afternoon, and all of Uzbekistan's siblings were staying at her house for a week in preparation for a regional conference.

While they were all in separate rooms of the house working on writing up important documents and presentations, Uzbekistan was cooking food for the evening, and as per tradition she was cooking osh. It was also her siblings' favorite food, and they insisted she cook it for them almost every time they got together.

As she was stirring the beef and onions, Kazakhstan came out of her study, sniffing around.

"Apa, are you making osh for tonight?"

"Yes. it is a Thursday, after all! Also if you guys eat enough of my food, perhaps you won't all be so grumpy at the conference."

"Speak for yourself," he chuckled. There was always some argument that would arise at one of these conferences, and many times Uzbekistan and Kyrgyzstan would be part of it.

Before she could respond with some lackluster excuse of those conflicts being in the moment and that it wasn't truly her and that she was definitely a mature lady and how he could say that to his dear older sister who is cooking food just for him, he points at the qazon she was cooking the osh in. the bottom was completely black after years of use.

"Hey, how long has it been since you've used this qazon?"

"Oh, um...I bought it at a market sometime around the 60s?"

"Apa, that's like 50 years!"

"Well, it's durable! Like the spatula I'm using to cook it with."

"But if you bought new ones...wouldn't it enhance the quality of your meals? New cooking technology and all..."

She gently added the chopped carrots to the qazon. "You know, a smooth sea never made a skillful sailor. You could buy all the latest utensils and completely revamp your kitchen, but!" She gestured at her hands. "It's all about your experience. Your skill. That's why you all love my food the most!"

"I don't know..." Kyrgyzstan stood on his tiptoes and looked over Kazakhstan's shoulder." Tajikistan was gushing about my dymdama last time. Her side of the plate was so clean, I think she used bread to wipe the leftover broth up."

"Why must you always make this about you? She was extremely hungry that time! Besides, that was then, and this is now." She closed her eyes briefly and tossed the carrots over.

The two spent the rest of the time bickering about the "deliciousness scores" that they had apparently been tallying up so far based on their other siblings' opinions of their food, while Kazakhstan tried his best to mediate.

Good practice for the actual conference I guess, he thought, though they've done this enough times I don't think I really need practice...

"If we're gonna talk about revamping your cooking, why don't you use a frypan next time? Your boyfriend already does that when he cooks osh-"

"HE DARE COMMIT SUCH BLASPHEMY?"

"Hey chill! You better keep that a secret cuz he told me to keep it a secret from you!"

Kazakhstan had to admit, she was pretty skilled at cooking. He could see it in the way she both argued passionately with their older brother and added the chickpeas and rice to the osh, never missing a step. Heck, she even managed to make some salad on the side as well.

And when the sky became a light purple and the crickets began to chirp, the evening wind brushing through their hair as they ate outside on the tapchan, Uzbekistan brought the hot, aromatic osh to the table to eat. Everyone cleared the plate within half an hour. She smiled smugly at Kyrgyzstan.

"That's 25 points for me since today, and you're still at 22~"

"I'M CATCHING UP, OKAY?!"

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notes: ALHAMDULILAH I MADE IT IN TIME ITS STILL 11:57 PM 💪💪💪

there's a lot of uzbek/central asian terminology here, and they're italicized:

osh: otherwise known as plov, it's uzbekistan's national food. it's a sort of fried? rice with carrots, meat, chickpeas, and raisins. each region in uzbekistan cooks it differently, but I tried my best to describe whatever I can remember from my mom's way. it's served to guests at home, weddings, and also eaten on the regular weekly, with osh being eaten on thursdays as a traditional custom.

qazon: the best way I can describe this in english is a cast iron cauldron. it's quite big and a lot of things can be cooked in it, like osh, qazon kabob, and dymdama.

apa: kazakh for "older sister."

dymdama: eaten in many central asian countries, it's a stew of beef, potatoes, carrots, tomatoes, and other vegetables. in uzbekistan, it's called dimlama, and I only recently found out it's called dymdama in kyrgyzstan by a kyrgyz classmate!

tapchan: in a lot of uzbek houses with backyards, there's a small resting area with cushions and a table outside. in the spring and summer, families usually eat their breakfast, lunch, and dinner outside.