#but something tells me its target audience would think I want to argue or something

[the-real-sasuke-uchiha]

The Uchiha should have just talked to their oppressors, because oppressors and genocidal dictators are known for stopping doing oppression as soon as you ask them nicely.

[hyacinthusmemorial]

The Power of Children's Stories: Why "Kid's Book" Should Not Be Considered an Insult

I do this thing when I'm walking, I listen to Kids from the Stranger Things Soundtrack and I imagine Apollo fighting Python, but then I imagine all the heroes that came after him because in a way--Apollo is the archetype of the hero. He's a child, a baby god, four days old in some stories and he's not stealing cows, he's killing a serpent. Then I imagine all the demigods that came after him, and I'm stunned because there's a reason we give children the ability to slay monsters in media when they normally are not expected to do so in real life.

I read a post by @apollosgiftofprophecy, which is a valuable critique of derogatorily labeling something "kid's book". This post I'm writing in no way disregards that, but rather highlights something similar, but different. Rick Riordan's books are powerful (recent discussion about his characterization and stories aside), and just because they are targeted at a younger audience doesn't mean they aren't powerful for everyone. I'm guilty, I called them Kid's books in this post, but to me, Kid's Books are a powerful medium and not a lower one or even a derogatory one. To me, Percy Jackson is a one million times better character than Jon Snow in Game of Thrones because GOT takes its source material so, oh so seriously that it never explores the themes of his childhood in any meaningful way. Percy Jackson on the other hand as well as Apollo because I adore those books too--they use a narration style that is clear, entertaining, and bright and humorous to express very harsh realities of life. I identified with Apollo more as an adult because he uses humor to mask his darkness, which is very much something I do (and honestly anyone in healthcare or who deals with death daily does that), but I adored Apollo because he was hiding.

Clearly, I don't write for middle grade level when I write, I write adult content, but I wanted to validate "kid's books" --not "Just kid's books." Kid's books are powerful.

Examples:

Responsible for combatting Racist views! Absolutely one of the most powerful books ever written, and it teaches CHILDREN and ADULTS to turn around and save someone even when its not the "right" thing to do, but it absolutely is. It challenges conscience. It does this while telling joke after joke after joke.

Another Example:

Another "Kid's books" but not "just kid's books"-- gosh, I could go on and on about LOTR and its themes about power. This book is important for all ages. I still analyze the hell out of it, and so do my friends. Its hopeful, not because its less of a book than its counterpart "its all quiet on the western front," but because its illustrating powerful lessons without despair. Everyone makes it home, everything is beautiful, they rebuild, the Shire endures through the darkness. The Ring is destroyed even though it still very much exists in our world.

What about the Giving Tree, or Dr. Seuss books like Yertle the Turtle or the Sneetches, Artemis Fowl, and all those "kid's books." Star Wars is for "kids," but talking about Cycles of Abuse! Luke means Hope, and he breaks his families cycle of abuse. That's powerful, and its for kids!

I would argue that Kid's books are powerful BECAUSE they are targeted for kids, not in spite of it. Stories are how we TEACH. Grimm's Fairytale's existed because storytelling was a medium through which kid's learned vital truths--they have to be dark, kid's understand darkness, they understand monsters, and while our society sanitizes death away, kid's very much should learn how to understand death too.

I read an article about how a tribe, I think perhaps one of the Inuit, uses stories instead of physical discipline and how they find that this is the superior way of teaching children and adults. Everyone listens to the stories, not just the kids. When someone makes a mistake, they develop a story to show what happens if that mistake is oft repeated. I think about our ancestors gathered around fires and they told stories, and the kids were front and center, but the adults were there too, listening, learning, remembering.

On a completely different note: when a book is "targeted" towards an audience, that's marketing. It has nothing to do with content or value. We need to separate the concept of marketed, and marketing, from the whole value of a book as a means through which to tell a story that discusses important themes.

I very much use my story as a means through which to express truths about personal issues, and I think it resonates. But, those themes and truths are universal in their basic nature, a child can understand what it means to be hurt as much as an adult. A child can understand what it means to be free as much as an adult.

[thecourtsknight]

So. Side Order, huh?

I've been chewing on my thoughts over this for a good few days now. Want to spit them out somewhere. Vague-ish spoilers ahead.

I want to preface this with saying that I love Splatoon, I've been playing it since 1, really dropped off near the end of 2. Nintendo made Octo Expansion for me, they released it on my birthday and I love it so fucking much.

Side Order is fun, but lacking criminally in content.

You can argue Roguelites are like this in general, its the core princible to replay them over and over again and as someone who enjoys Roguelites, I agree!

However, a key thing that good roguelites do is continously give you a reason to keep playing- whether that be addictive gameplay or, usually, good story and lacing that in with difficulty that becomes the players goal to lessen- It rewards the player for being curious, experimental and above all else persistant.

I am fully aware that difficulty, due to Splatoon's target audience, in something like a roguelite was never going to be an easy thing to balance let alone pull off but having the main plot resolve itself once you hit the top of the tower was, in my opinion, the first of its blunders.

I feel as if the Splatoon developers know how much the lore and worldbuilding of these games matter to players. Side Order was advertised in very similar veins to Octo Expansion. The trailers had mystery and intrigue with clear connections to the well recieved and loved Octo Expansion to the point of having the same protagonist among other simularities.

They were clearly teasing this to be a successor of SOME capacity to Octo Expansion. And even as I went into this expecting it to be nothing like OE in terms of it's personal weight, I wasn't expecting something so short.

Classically, in roguelites that focus on story, you would gain story beats the more you replay. And techincally you gain this with the keys gathered from each fully cleared palette. But usually your story rewards in roguelites come from clearing or attempting runs and rewards:

With Side Order's story being resolved the MOMENT you step onto floor 30 with no real context unless you've intentionally avoided the top or have genuinely been slowed by its difficult (which I assume is what the devs intended) makes it's climax feel fast paced and lackluster- undeserved, even.

And, yes, I am fully aware that when you climb the tower agani after the credits role, you begin gain more lore about whats going on. But with the actual, main threat neutralized in every possible way it feels as if this lore should've been offered to us much sooner and much more spread out for a better pay off.

It's story feels like its being told out of order and, in my personal opinion, the themes and actual telling methods of Side Order we're a largely missed opportunity to tell something a bit more indepth. Climbing a tower that gives you essentially nothing until you reach floor 30 (which in my experience takes about 35-40 minutes) only to recieve about two scentences of lore is incredibly tiring and feels dissastifying when the main plot is already over.

It's lack of variation in level design, tasks and chips doesn't help with the climb each time if you're looking for the lore or just to 100% either. And you can argue this is a roguelite problem, but Splatoon's scenario's for a tower climb are pitifully small and you will start to seem repeat almost immediatly on your second or third run.

I also feel like it relies far too heavily on the player knowing and caring about Octo Expansion. I'm not saying that I think it was a bad idea to have most of what's going on in Side Order happening because of Octo Expansion's events. Hell, I was happy when they were very blatently showing this early on.

But it does very little with its ties to Octo Expansion, making Side Order feel like its constantly struggling to be its own thing away from the original DLC.

I think I can almost see what they wanted to go for here, and its frustrating, it felt close to something at least telling a decent story.

Every single little beat I've gotten has helped me understand more and more what they were going for, but since the main conflict is already resolved I find it hard to be excited and more frustrated that I wasn't given these during my initial playthrough.

I feel as though the roguelite formula was an interesting idea that they polished the best of their ability and to make work both for casual and experience players- but I think thats where the problem comes in.

With Side Order being the same price as Octo Expansion and offering very little in terms of replayability and most especially for me, story, the whole thing ends up feeling like a muddled mess that would've worked better had the roguelite aspect perhaps been dropped in general for a general tower climb.

Missed opportunies feel like they decorate Side Order in a way that leaves me fairly disappointed.

I think, overall, Side Order is a fun time that can be enjoyed but the way it was implimented into the gameplay formula was largely a mistake, especially coupled with the marketing of this being something more indepth with its story when it's not, and I can absolutely understand why I'm seeing a lot of disappointment for it.

[paper-nihilist]

i’m starting to think that no pjo adaptation will ever be good enough for this fandom.

i’ve seen people complaining that the show “lost the meaning” of the series. the series that retold greek mythology by changing and adapting it to modern situations now can’t handle having its own author change stuff to tell a story in a shorter amount of time and in a better way.

there is simply no way that any pjo adaptation can include everything from the book; that’s the nature of adaptations. i was bummed that disney decided to go with only eight episodes, but that seems standard for disney’s originals; it’s not them just targeting pjo. so, they had to cut stuff, the same way that the movies, and the broadway musical, and the graphic novels all had to do. jesus christ, that’s why we have the original books in the first place, to have all the detail and nuance the show will never have the ability to touch on.

but more importantly, the changes to the plot all make sense. the st. louis arch episode now foreshadows the ways that Athena treats Annabeth and all of her other kids in MoA. Poseidon actively saving Percy by reaching out with the water fixes a notorious plot hole AND adds depth to Poseidon’s character.

(I am writing this before ep 8 comes out so i have to admit i might be proven wrong about plot changes making the show better. grover loses one of the pearls in ep 7, which absolutely felt stupid and like a throw away plot point. Having posidon give percy four pearls is a change that adds depth to Poseidon, but it makes sense that a pearl had to be lost somehow. it just seems rushed in how they lost it. i’m hoping that they follow through and do something with that set up in ep 8, in which case, the rushed aspect of the set up could be forgiven. but if the show runners don’t do that, rip me)

Also i can write a whole separate thing about sally jackson but every change and addition to her character makes sense and adds to percy’s background. for example, i think that percy being kept away from camp makes more sense with this sally and her stronger attitude against the gods’ way of doing things. i think people don’t like her because her additions take up run time, but i think that her scenes make the show more accessible to an older audience by making it relatable. pjo is suppose to be relatable for neurodivergent kids, so why shouldn’t it more heavily focus on the struggles that our parents make, especially considering the author is one. the show isn’t told in percy’s pov, and this allows for new perspectives to be explored that add to the overall meaning.

ultimately, does the show feel rushed in places? absolutely. i’d argue that some of that rushedness is from how many focuses the show wants to take. the show focuses much more heavily on the attitudes and motivations of the gods and how that effects their kids than anything else. the fun Quest Scenes necessarily take a backseat to setting up the rest of the series. the mattress store chapter should not take precedence over Sally struggling with parenting a neurodivergent child. i think one of those adds more in the limited run time of the show.

in a dream world, the pjo series would be 24 episodes per season and pay homage to every detail possible. but that’s never going to happen and this disney plus show is already more than any of us ever expected and is a really good show in its own rights. it first and foremost focuses on how Being Different is good and challenging existing unfair systems is good and i think that is the spirit of pjo. the book was not a well thought out masterpiece and changing plot points to save time or to more explicitly show themes should be applauded. yall will just never be happy.

[flip-flop-lover-will-byers]

Oh, Byler can ABSOLUTELY make a case for queerbaiting. I'd argue that Byler fulfills the main function of queerbait- luring (queer) audiences that would not otherwise be into the show, without losing out on its usual cishet/homophobic audiences. And the fact that it would be controversial just means that it would be a queerbait well done.

I did a whole practical on queerbaiting last year for college, and it high key spooked the hell out of me XD I left the fandom for like half a year.

All queerbaits are "controversial". That's the point- to exist in the grey area. There are whole papers discussing how queerbaiting is based in comphet- it's built on the presumption that all characters are straight until explicitly proven otherwise. Straight audiences are encouraged to read all characters as straight, whereas queer audiences are encouraged to look for queer qualities in characters.

Look at some of the most well known queerbaits, and you'll find that even their shippers have to fight for their lives to prove that it's queerbait.

People think something doesn't count as queerbait unless everyone agrees that there's "something there". Unless the GA and the other ship fans etc also agree......but no. THEY are not the people being "lured". They are not the target of queerbaiting. You are. If Byler doesn't happen and Byler fans feel queerbaited.....I don't think they're wrong.

1) Byler as a ship has grown exponentially over the past year and definitely added something to the show's fanbase.

2) These are the fans who re-watch the show repeatedly, who talk about it extensively and show it to their friends/family. Buy merch, etc.

3) Every person involved in making the show and their great grandmothers are aware of this.

4) Anon, the Duffers always have the opportunity to explicitly shut down Byler. All the time. They don't need a catalyst for that. If they haven't done it yet, they're not gonna- and if Byler isn't happening, then they absolutely should.

4) Y'all remember the S4 posters? The obscene amount of Painting merchandise that came out that one time? Y'all remember the tweets? If they could tell Noah to pretend Will is straight, what on earth makes anyone think that his shipping Byler tweet was absolutely spontaneous and not at all approved by the promotions team or whatever? (Also note that it was about Byler- NOT Will being gay. At this point, these are two seperate things.) Y'all see this grey area that ST promos lurk in? Giving us something, giving them something?

Idk, but I think it counts.

The main argument for why Byler isn't queerbait is this- Will is already gay. Just because the gay rep we're getting isn't the one we want, doesn't mean that we're not getting rep at all. This is not untrue.

1) If Byler didn't happen and we say ok it's not queerbait. It's still fucking bad rep. It's not that Will remains single and yeah "you don't need to be in a relationship blah blah" but in the context of his entire arc? After that van scene? After having Will beaten down repeatedly as collateral to his first love's heterosexual relationship? This rep fucking sucks.

2) I still think it would be queerbait tho, coz Will has been pretty clearly gay all along- that's not what "lured" fans tho. Byler did. Cause and effect.

Sorry for hijacking 😔

I think bylers could make a reasonable case for queerbaiting but most people wouldn't care because rn they just think we have the audacity to be delusional in public there'd probably be more of a case when we start getting s5 promo the advertising or if someone traps the duffers with a clear opportunity to shut down byler and they don't take it. If they explicitly shut it down like when they told Noah not to say Will's gay than we can't really say anything but if they don't and don't follow through then it's obvious baiting.

the duffers could say byler is going to happen believe us gay people everywhere watch s5 and then have mlvn be endgame and everyone would be like they're mocking bylers see how they mocked you like no one but us would care😭 i believe that i really do...

[olderthannetfic]

I’m so tired of people shitting on RPF, when RPF fandoms (specifically the Hockey RPF community) are some of the healthiest, least-toxic places I’ve ever been in. I can’t speak for everyone, and I think that the target audience of a piece of media has a lot to do with the toxicity of the fandom, but everyone has been so kind and welcoming to me throughout the years and I rarely see any fighting over than the casual sports team ribbing (and even then, unlike irl cis men sports fanatics, it’s really rare that anyone is actually mean or violent to one another!). It’s obvious that everyone in the fandom shares a love of the sport, the players, and writing, and they’re all really helpful to newbies who are trying to get into hockey. “Primers” are something I’ve only seen in the hockey RPF fandom but tbh I wish they existed elsewhere, for instance. I think this has a lot to do with the fact that the majority of the fandom, as I see it, are adults, and many are fandom olds.

I can see how one could get the wrong impression of RPF looking at a lot of the recently popped up YouTuber fandoms, for instance, but I would argue that a majority of RPF fans KNOW BOUNDARIES and don’t want to cross them. There’s a reason that most hockey RPF fics on ao3 are user-locked and have disclaimers, and that’s both out of respect for the players and to protect ourselves. But that fact just makes that one often-circulated post where people call sports RPF gross or weird or freakish even weirder, because you literally have to go *purposely looking for it* to see it. It’s really hard to find sports RPF accidentally.

Unfortunately, the stigma surrounding is making it really hard for me to want to be associated with it. I recently got into a new fandom and changed tumblr mains + got a new ao3 account (since I had a lot of bad memories associated with my old one). I don’t really want to post RPF fic on anon, but also as a fic writer I am somewhat popular and I’m worried I’ll get hate for it. Advice?

(Also, the majority of hockey RPF is really, really good. Well-written, a lot of unique stories, plus smut and romance obviously written by someone who knows what they’re doing. I’d honestly recommend the AUs to people who know nothing about hockey, they’re that good.)

--

Hockey RPF fandom is usually okay, but it has its moments. (Namely, when a famous dude is revealed to be a rapist as happens unfortunately often with pro sports, everyone behaves like an idiot for a while.)

But yes, most anti-RPF discourse on tumblr lately isn't about music or sports RPF but about youtubers. The dynamic of those fandoms is quite different and music and sports shouldn't be tarred with the same brush.

As for worry about getting hate, archive-lock your fic, turn on comment moderation if you need to, and tell the haters to go fuck themselves. Half of LJ fictional person slash fandom moved to Hockey RPF after Stargate Atlantis, and people just had to learn to deal.

[makeste]

my biggest worry about the UA traitor is that it won’t feel significant as the major characters suspected in being it don’t play a big role in the story leading up to now.. like aoyama yes he might cause shock but hagakure?? she doesn’t done much imo but i do think she is the traitor i just wish hori given her some spotlight early on to lead to the moment and the suspense yk

fwiw, you're not alone, anon; I see this concern crop up pretty much every single time there's a U.A. traitor discussion. but the thing is, there's an underlying assumption here that the sole purpose of a plot twist is to shock people. and I would argue that's not true. imo, a well-written plot twist serves many purposes, and shocking the audience is only one of them, and far from the most important one. (in fact, I'd argue that it's not even strictly necessary.) here are four that I can think of right off the top of my head.

they catch and hold the audience's attention. this isn't the case for all plot twists, but it's certainly true for ones which the author chooses to deliberately dangle before the audience, as Horikoshi chose to do with the U.A. traitor plot. if he really wanted to shock people with the reveal, it would have been better for him not to call attention to it in the first place. there was no need whatsoever to have Present Mic bring it up back in chapter 83. but he chose to go that route because he wanted the readers to notice, and he wanted them to start thinking about it and to start speculating about the traitor's identity. it gets the audience excited, and it gives them an incentive to keep reading to see how the story will play out.

they encourage the audience to engage more with the story. the U.A. traitor plot is easily one of the most talked-about elements in the entire story. at this point I don't think there's a single teacher or student character who hasn't been the target of suspicion at some point or other. and again, this was a conscious trade-off on Horikoshi's part, because it would have been much easier to blindside readers with the eventual reveal if they weren't out here forming all of these exhaustive theories. announcing that There Is A Traitor pretty much guarantees that no matter who it ends up being, someone will have predicted it ahead of time. but the trade-off is that fans are paying closer attention to the story, and continuing to think about the plot even when they're not reading the manga, and engaging in more discussion with their fellow fans. and all of that is more than worth the loss of the shock element imo.

they add new layers and depth to the story. this is the hallmark of all of the most iconic plot twists. anyone can write a story and tag on some sort of half-assed unpredictable heel turn at the end in order to try and surprise people and make themselves look smart. but the best plot twists are the ones which actually make sense, and which have foreshadowing sprinkled in throughout the story, so that when you go back and look at everything a second time it makes you go, "ohhh, that's why." a good plot twist should be just as enjoyable to read the second and third time around, even after the shock value has expired, because the satisfaction of seeing a well-planned and executed plot development is still there. and with the very best twists, the story is actually even more enjoyable to go back and reread afterwards, because the knowledge of the twist adds new insight and context and perspective to all of the previous scenes.

and last but not least, they add suspense. there are plenty of ways to keep your readers on their toes that don't necessarily involve surprises coming out of left-field. and this is another thing that the author gains when they make that calculated sacrifice of announcing a plot twist ahead of time. the reader is no longer going to be shocked, because they're now anticipating it -- but that anticipation is a great consolation prize in and of itself. and so with this particular plot, for instance, there's more to the U.A. Traitor Mystery than just the question of who it is. there's also the questions of why, and most important of all, the question of what will happen when everyone finds out? and those questions add a ton of suspense to the story. when will AFO call on Hagakure again? what will he ask her to do? what's going to happen if and when she finally gets caught? how exactly is Aoyama involved in all this? and how will the other members of class A react?? each of these questions has enough inherent suspense that you could make a separate cliffhanger out of each and every one of them if you wanted to.

the thing that everyone always seems to overlook is that the reveal isn't the point. the reveal, when it happens, is going to be a one-time thing which will only be in play for a single chapter at most, after which the plot needs to still be able to stand on all of its other merits. so for instance, suppose that Horikoshi does go for shock over substance, and decides to go with someone "unexpected" like Ochako. sure, you get the shock value, because no one seriously expects it to be her. and maybe to some people it would feel more impactful, because she has a closer connection to Deku and the other characters. but the trade-off is that a twist like that would make absolutely no sense. it completely lacks the careful foreshadowing of the Hagakure/Aoyama twist. and it would detract from Ochako's character development, rather than adding on to it, because it would completely undo so much of what her character journey has been about up until now. all of that sacrificed just for the sake of a one-time twist, which a good chunk of readers would be spoiled for in advance thanks to the weekly spoiler leak cycle. ymmv, but to me that would absolutely not be worth it, and would be a huge waste of both Ochako's character, and of all the careful work that Horikoshi has done to weave this whole plot together.

on the other hand, the fact that Hagakure has had next to no spotlight up till now is exactly what makes her the perfect candidate. with her there's no need to worry about undoing years of carefully planned character development. there's no need to worry about the twist not making sense, or not holding up to the scrutiny of hindsight, because all of Hagakure's interactions with the other characters have always been curiously superficial. we know next to nothing about her family or history or motivations. her character is pretty much a blank slate, which makes her pretty much the only person in 1-A whose betrayal wouldn't feel awkward and forced and completely unnatural.

and as for everyone who's already made up their minds that her betrayal would lack any impact, I think they're both underestimating the amount of impact that any betrayal from one of class A's own would have, and also underestimating Horikoshi's ability to deliver when it comes to ninth-inning backstories. Dabi's backstory came pretty late in the game as well for instance, and that didn't take away from its impact at all. and the same goes for Hawks as well. just because Hagakure doesn't have any backstory yet doesn't mean she's not going to get one. and if you think Horikoshi doesn't have something good cooked up after all this time, then I don't know what else to tell you, except just, "wait and see."

anyway so yeah. and also just a reminder once again that even though fandom sometimes gets bogged down in this kind of discussion involving our personal opinions as to who would be the best traitor candidate, or the most shocking or meaningful or unexpected, etc., at the end of the day the actual evidence we have all points to Hagakure. I know I sound like a broken record at this point, but yeah lol.

[americangirlstar]

Now that both Courtney books are out and I’ve read and processed them both, I do want to say that I think they’re the least well-written of any of the AG books, but not through any fault of their own- let me explain.

(Note that for this discussion I’m ignoring the Doylist criticisms- Courtney and 3/4 of her friend group being white again, the lack of gay discussion in-text in regards to the HIV crisis, etc. These are valid complaints and concerns, but not what we’re talking about right now.)

The Problem with the Current Book Length

I think the main problem with Courtney stems from the fact her books are so short. American Girl has literally been doing the stupidest things in regards to their books lately, almost as if they’re trying to sabotage them on purpose. First they remove illustrations in 2015- when their target audience is about nine years old. I don’t know about you, but when I was six and getting into American Girl, the illustrations were the highlight for me. Not because I had no attention span and loved pretty pictures, but because it showed me firstly what the girl’s life was like, whether it be 1760s wilderness or 2001 Chicago. It was like stepping into their world, really helping you get into their heads, which was basically what the dolls were supposed to do, to let you know that girls like you exist throughout time and space.

As well as that, the illustrations were free advertisement. I can’t tell you how excited me and my sisters were as children to go to the American Girl place and look at the doll displays, shouting that that’s the dress Felicity wears to the ball! or look, Josefina’s goat looks exactly like the book! AG cut that from 2015 to 2020, as if they were trying to appeal to an older audience- while at the same time changing all the doll outfits, accessories and marketing to appeal to a younger demographic.

Now, this isn’t about the illustrations, as Courtney got those- it’s about what they did to the historical characters after the Illustration Outrage™ happened. See, they’d condensed the historical six-book format into two books- not necessarily a bad idea, parents would be more likely to buy two books for their kid than consider buying six. However, they then claimed that if they put illustrations back, they would have to abridge the books- literally my nightmare.

First of all, American Girl, we know for a fact you can fit all six books plus illustrations into ONE VOLUME, let alone two. You’re just being cowards here and trying to nerf your own stories for... some reason.

So that meant a lot of important things got cut- Rebecca’s Chanukah story, Melody’s cousin’s house search, Maryellen’s Christmas adventure... all things important to the girls’ histories and character.

The Problem with Courtney’s Writing

Now, Courtney was the first doll to be released after the abridging began, meaning her books were released, in their entirety, just as short as the abridged stories. So it basically means she gets four books while the others get six- and unlike the others, Courtney doesn’t even have mysteries or short stories to pad out. (And honestly, looking at her book’s amount of content, I’d even argue that she basically got two while everyone else got six, but I digress.)

The problem with her books isn’t that they have an author writing them poorly (I really feel like her author was doing the best with what limited time she had), but in how cramped American Girl made them. Because, well, Courtney has to deal with a lot in such a short amount of words.

Let’s compare her to Julie, for instance- Julie pretty much has a new 70s thing every book. In order: feminism, rising divorce rates, San Francisco’s Chinese culture, environmentalism, the country’s bicentennial, anti-bullying and deaf acceptance. And adding to this, we also have her own personal journies through her parents’ divorce and move, her basketball team, her friendship with Ivy (and later Joy), overcoming her fear of horses, student council, detention... It’s a lot, and yet her books don’t feel rushed or forced at all. It’s just a year in the life of a girl going through a lot of new and sudden events, and how she grows and changes throughout them. She may not be as deep a character as Addy or Kirsten, but not every girl goes through the trials and tribulations they do, and it’s a good series overall.

Courtney, meanwhile, does feel rushed and forced, because of the short timespan. Instead of fitting everything into a six-book format- or even at two-book format that is the same length and content as the six-book- everything has to be fit into two short books.   Everything Courtney has to cover includes the topics of divorce and stepfamilies, feminist and technological advancement, the Challenger explosion, the HIV crisis, Hands Across America, and the founding of Pleasant Company. And in Courtney’s own journey, she has to cover her learning to stand up for herself, her relationship with her stepsister and Tina’s own character development, her mother running for mayor and how that affects her, how much she misses her Dad after he moves, her friendship with Sarah (note on that later), her basically getting hate-crimed after standing up for her friend... that’s a LOT of stuff, and I didn’t even include the non-AG 80s product placement they shove into her collection.

But without the longer format, everything is pushed together to its detriment. Tina’s development and Maureen’s mayoral candidacy are two plotlines that are literally dropped and almost completely ignored in the second book. The Challenger and HIV issues were handled decently, but the Challenger only lasted a few short chapters, and the HIV topic was not as informative as it could be, leaving out several things like Reagan’s refusal to treat it for so long, and its effect on the gay community. Honestly, the HIV scare was more shifted to focus on the mob mentality of a new and scary disease- which, while needed right now, also ignores many of the bigotry-related reasons it became an epidemic. Pleasant Company’s inclusion feels forced in, and I think was the only resolution she had to her Dad plotline?

And don’t get me started on the Sarah plotline- every Girl of the Year since Kanani- sans Isabelle and Luci- has had the story of “oh no I’ve been ignoring my friend and now they’re mad at me :(” and it’s SO old. Seriously, I counted the contemporary dolls that have had that storyline, and it’s thirteen*. Thirteen times we’ve covered this issue- almost all of it in quick succession- and now we have to deal with it in a historical character book while much more important things are going on! Yes, it sucks when a friend ditches you while you’re being attacked and bullied for something you’re standing up for, but once again, with how much is happening in such a short book, it just feels like a forced-in plotline that we’ve seen a billion times, and with their falling-out happening mainly due to the attention Courtney was given Isaac, it serves to make Sarah seem closed-minded at best and bigoted at worst- it’s clarified that she’s not, she’s just scared and upset with Courtney, but when you put those events so close together, it leads the reader to lump them together and get the impression that, you know, Sarah is a worse person than she is.

*Full count: Nicki (book 2), Chrissa (book 2), Kanani (2), McKenna (1 iirc?), Saige (both books), Grace (2), Lea (3), Gabriela (1 and 3), Tenney (2), Z (1), Blaire (1), Joss (1) and Kira (1).

It’s a bit weird, too, that Courtney’s... what’s the word? Vibe? with her how her story is written and marketed Is closer to the Contemporaries than the Historicals. Am I the only one feeling this? My best explanation for it is that the author, Kellen Hertz, had only written contemporary books for American Girl before- the third Lea Clark book and all four Tenney Grant books, both of which contained the Friendship Issues™ plot. I’m not at all saying she’s a bad author- I honestly love the way the Tenney books are written- and I’m not saying she couldn’t write a historical book, but it’s clear American Girl didn’t ask her to change up her style or content from what she’d done for them before, as well as giving her way too much to cover in such short books.

Conclusion

Honestly, this conclusion should be obvious- American Girl needs to expand their books again. Whether they simply allow the books to be unabridged, or go back to the six-book format, Courtney's books are too cramped to tell an effective story, let alone the poor abridged girls.

The other girls were given six-book length, so if they went back to that length or format, Courtney would have to be rewritten, at least a little- and that’s okay! There’s a lot of things that could use expansion or connection, such as her Summer trip with her Dad that was given basically one sentence in the text. Her growth with her stepfamily could be acknowledged- and honestly? I think that if these books were expanded, her mother’s mayoral arc should either continue through the books, or Maureen should become mayor before the book 2 arc. I’ve mentioned this before, but having Maureen as mayor (or even still a candidate) would put a lot of pressure on Courtney to be perfect so that nobody can say “look at how awful this woman is for doing politics instead of raising her family right”- which means that when the Isaac stuff happens, it has even more stakes for Courtney and her family. Does her Mom still support her with her own reputation on the line, and what does that say about Maureen’s character, how does it affect Courtney and the D’Amicos... that’s all fascinating stuff that was completely missed out on.

And if she was turned into a six-book format- honestly, here’s how I’d do it, just off the top of my head. It would involve a bit of event shuffling, but honestly I think it would work!

Meet Courtney - pretty much the setup for everything happening, her starting to get her Crystal Starshooter plans and her mom’s campaign beginning.

Courtney Learns a Lesson - her relationship to Tina, culminating in the Challenger incident.

Courtney’s Surprise - we move the founding of Pleasant Company over here, since Molly’s basically her Christmas Present. We’ll probably need an additional plotline- maybe similar to Julie, she can have a story on spending the holidays in different places.

Happy Birthday Courtney - end of summer, aka meeting Isaac and her trip with her Dad.

Courtney Saves the Day - Beginning of the HIV arc, ending at her presentation to her class.

Changes for Courtney - Continuation of the HIV arc as things get worse for her and Isaac, ending where Friendship Superhero ends.

Is that a perfect sorting? Probably not, I came up with it in ten minutes. But would it give Courtney space to breathe and more time to explore everything happening to her? Probably!

The tl;dr of this is honestly that American Girl are absolute cowards right now, and need to expand their books back. Their abridging is only harming their stories- which, as Courtney herself points out, are the reason girls got into their company in the first place.

[impalementation]

spike, angel, buffy & romanticism: part 2

part 1: “When you kiss me I want to die”: Angel and the high school seasons

* 

“Love isn’t brains, children”: Enter Spike as the id

For all that I’ve just discussed all of the ways that the first three seasons subvert the romance of Angel, it’s also true that the writing still fundamentally takes him—and Buffy’s relationship with him—seriously. To some degree it has to. Because Buffy is the show’s emotional anchor, if the writing didn’t take her emotions seriously, the audience wouldn’t either. It needs to be sympathetic to her (regardless of whether it endorses her, per se), or else it would run the risk of losing all pathos. Making fun of Buffy and Angel makes for a great gag in “The Zeppo”, and fits with the general way that season three undermines the romanticism of them, but if that was the show’s attitude the whole way through, it would come off as simply meanspirited. It would seem like it was making fun of Buffy for being a stupid teenage girl in love, instead of sympathetically depicting the human experience of being caught up in big, tempestuous emotions.

But at the same time, if the writing were to only take romance seriously, that wouldn’t feel very true either. Or fit with the general Buffy ethos, which loves to flip between serious and silly moods in order to capture all sides of whatever it’s exploring. And therein is the magic of Spike’s addition to the chemistry of the show. Practically from his introduction, Spike parallels Buffy’s romantic storylines, except unlike Buffy, Spike is allowed to do the comic or morally incorrect thing. His status as a soulless vampire means that the show is free to use him to point out both the sillier and darker sides of romance, without tainting Buffy’s heroism or the seriousness of her emotions.

In “Becoming, Part 2” for example, Spike is free to explicitly say that he’s saving the world because he wants Dru back, and leaves Buffy to die once he’s gotten her. Whereas Buffy, despite also wanting the person she loves back, ultimately chooses to save the world rather than keep him. Spike allows the episode to show what Buffy’s, or anyone’s, romantic id might want, without Buffy herself going through with it. He also allows the episode to show the ridiculousness of the romantic id, by giving him comic moments like “Didn’t say I wouldn’t”, or “God, he’s going to kill her”, or beating Angel with a tire iron, or any of the times that Buffy makes fun of him (“The whole earth may be sucked into hell and you want my help ‘cause your girlfriend’s a big ho?”). All of which is in contrast to the tragic seriousness of Buffy’s heartbreak. Spike in season two is not a character without pathos; in fact, he has quite a lot of pathos that parallels Buffy’s--think of the tortured close-up on his face as Angel and Drusilla taunt him in “I Only Have Eyes For You.” But neither is he limited or defined by that pathos.

He plays a similar role in both “Lovers Walk” and “The Harsh Light of Day”. In “Lovers Walk” he’s devastated by the loss of Drusilla, as Buffy was devastated over Angel in “Anne”, yet the way they get out of their respective depressions is very different. Tonally, “Anne” plays Buffy’s misery extremely straight, and when Buffy decides to stop moping and become an agent in her own life again, her version of “agency” means getting in touch with her leadership and heroism. Whereas for Spike, agency means a love spell, or torturing Drusilla into liking him again. The romantic id tries to re-possess the object of its desire, whereas the ego or superego is able to set that desire aside, whether or not it wants to. More obviously, Spike in “Lovers Walk” parallels all of the other characters and their romantic situations. All of them are behaving somewhat selfishly or self-destructively in their love lives (Xander and Willow cheating, Buffy and Angel torturing themselves with friendship) but are in denial about the fact that they’re doing so. And then Spike blazes in with his version of love that is selfish, scary, grandiose, charming, pathetic, genuine, and absurd by turns—and suddenly, everyone’s romantic weaknesses are out in the open. It makes perfect sense that Spike finishes the episode gleeful and optimistic, because “Lovers Walk” as a whole represents a triumph of the romantic id over the romantic ego, if only temporarily. And it’s all handled with a brilliantly whiplash-y mix of comedy and tragedy because at the end of the day, the power of the romantic id really is ridiculous. The way that Spike turns on a dime between being scary and pathetic parallels the way it’s at once absurd, and kind of frightening, that your id would make you, say: cheat on your wonderful high school boyfriend, just to have a chance with your childhood crush.

Because Spike is often treated as the show’s romantic id, the writing’s relationship to his romanticism gets complicated. Like Angel, there is something romantic in his aesthetic and behavior, even if he doesn’t look like Angel’s conventional Byronic hero. He wears a long, dramatic coat, poses rebelliously with his cigarettes, and dotes on his paramour with the elaborate attentiveness of Gomez Addams. But unlike Angel, he is not just a romantic symbol or object, he is also a romantic subject. That is to say, Spike’s romantic storylines tend to emphasize his romantic desires, and use those desires as motivation. By contrast, Angel’s storylines don’t really have much to do with whether he’s “gotten” Buffy or not—instead they have to do with whether Buffy has gotten him. The fact that Buffy and Spike are both treated as romantic agents in this way is a key indication that the two characters are meant to parallel each other. Angel’s side of the Buffy/Angel romantic storyline has to do with whether he can control himself around Buffy, whereas Buffy’s has to do with whether he likes her or wants to be with her. Similarly, Spike’s romantic storylines hinge on the status of whether Drusilla or Buffy want him. 

Not only is Spike a subject when it comes to romantic relationships, he’s also a subject when it comes to Romantic thinking. He is a character practically defined by his romanticism. He aspires to romantic things, and therefore can be used to poke at romantic outlooks. Despite his grand love for Drusilla for instance, she still cheats on him, and he still has to knock her out, do a love spell, or torture her to get her back. Or he’ll make grand pronouncements that are immediately followed by things like getting tasered by the Initiative or falling into an open grave. Because of this, Spike is able to parallel Buffy’s Romantic thinking as well, not just her romantic desires. Notice how in “The Freshman”, when Buffy is feeling out of touch with her Romantic Slayer self, that she has a scene where she’s treated like Spike--she delivers a dramatic threat and then falls through a ceiling. Or in “Some Assembly Required” when she obeys her id and hotly demands that Angel listen to her, she falls into an open grave. This kind of comedy has a lot in common with the deadpan Angel humor discussed in the last section, but notice that the target of that humor is Angel’s romantic objecthood rather than an outlook Angel has. Angel’s role, when it comes to romanticism, has to do with how Buffy and the audience sees him, whereas Spike’s role (at least in the early seasons) has to do with how Spike sees, period.

The show doesn’t just poke at Spike’s outlook though, it also uses him to poke at other people’s romanticism. In season two, for example, Spike is the one who gets impatient with Angel’s grandstanding, sarcastically explaining that “we do still kill people, you know” and “it’s a big rock.” In “Lovers Walk” he’s the one who cuts through Buffy and Angel’s drama, reducing it to “googly eyes” with a dismissive handwave (while also building it up in his projection-y “you’ll never be friends” speech). In “Something Blue” he points out that Willow is barely holding it together. In “Pangs” he’s the one who brings the debate over the Chumash nihilistically back down to earth, and in “The Yoko Factor” he schools Adam on Yoko not really splitting the Beatles apart. In other words, Spike attempts to see both the romance and the reality of things. He is the avatar of both, which I would argue makes complete sense, because in many ways romance and reality are really two sides of the same coin. Poetry and stories are fake and bigger than life, but you use them to tell truths. But being the id, his point of view can be hypocritical and biased as much as insightful, just like anyone’s gut reactions and poetic notions can be. After all, you can use poetry to tell lies, too. 

Lastly, on a meta level, there is a tackiness to Spike that undermines his romantic qualities better than making him dangerous ever could. Spike likes Passions and Dawson’s Creek (in contrast to Angel reading La Nausée by firelight). He lives in a crypt, but the vibe is more “homeless” than “Dracula” (in contrast to Angel’s tastefully decorated apartment). Spike may act like a romantic, but what does it say about how romantic romanticism really is, that the romantic things he likes can be so unrefined? And with the chip, he’s rendered impotent and pathetic. To me, there’s no more perfect image of how the writing uses Spike than the image of him in his black coat, red shirt, and big, leather boots, blasted under the fluorescent light of his Initiative cell. Light that makes his aesthetic seem suddenly fake and silly and surreal. For all that the writing subverts Angel, he is still the kind of character who gets to disappear mysteriously into the shadows, because he is the romance that Buffy has been forced to abandon. Whereas Spike is left with no place to hide. 

If Angel represented the idea of binaries, then Spike represents the lack of them. There is a reason that Spike invites so many queer readings. He is a vampire, but he loves. He is an object, but he’s a subject. He tells the truth, but he lies. He is a villain, but he is a hero. He is masculine, but he is feminine. He is insightful, but he’s a fool. He is pathetic, but he is sympathetic. He is on the outside of the Scoobies, but he is on the inside. These aspects of him are not split between different personas, but exist within him simultaneously. It is telling that the show introduces human, mythos-bending vampires like Spike and Dru in a season about disillusionment, and it is telling that Spike’s role in the show becomes ascendant in the seasons after Buffy leaves Angel and his split personality behind. As Buffy begins to reckon more deeply with her id, and her dualities, she will begin to reckon with Spike.

part 3: “Something effulgent”: Season five and the construction of Spike the romantic

[athena-is-a-chaotic-lil-shit]

Let the Stars Witness

Okay okay holy— omg I did it! My first request and from an admired writer of mine no less!

From @kim-monsterlings : Hi and welcome!! Really looking forward to seeing your work! ~ If you would, could I request some form of friends to lovers with an orc? (Prompts maybe like, "you deserve better.") Thank you! <3

Since it wasn't specified on what their genders are, I hope your okay with what I went with! And I kinda trailed off from the prompt (or rather it's different but similar)

Anyways you'll know when you read!

•

Pairing: Male Orc (Duruk) x Human Fem!Reader

Word count: 2.2k

Warnings: None.

•

"You know, I never thought I would be friends with anyone here, especially with someone other than my, well, species," you tell your companion, your eyes not leaving the cloudless night sky as you lied on your back on the roof of his house. The stars were out tonight.

If you told your younger self that you'd be having great escapades (if running away and getting into a series of trouble fall under that) with an orc, you would most definitely cry your eyes out because you thought were being teased, taking it as a hurtful comment. You were sensitive like that. Part of the reason why no one would even go near you, afraid they might hurt you with a pat on the shoulder or with one word alone. You became the prime target of bullies, finding twisted amusement at your pathetic reactions. A crybaby, they called you. But it wasn't your fault you didn't have much control over your emotions. You were weird, asocial, timid, maybe even depressed. Having a neglectful family didn't help either, it just worsened.

•

The morning you met Duruk was after the orientation. And it was not so good for a first impression.

Long story short, you cried.

But since you're perhaps curious as to what happened exactly, let's elaborate.

You had your headphones on, the melodic sound of gentle rain played in a 3-hour loop and blocked out other noises, your eyes glued to the path you were on. You took long and hurried steps, wishing you could teleport to your classroom and hide in the back, disappear or become invisible.

You were distracted, or should we say, focused on the ground and expecting everyone to step aside and let you through.

Well, except for the one who had his back on you.

You crashed—not an exaggeration— into something- someone massive. You stumbled back and landed on your bum, wincing from the impact. Luckily, your headphones were safe (ah yes, priorities), detaching from your ears and landing on your shoulders. When you looked up to see who it was, you thought your eyes were gonna fall off, grow little legs, and scamper away.

Before you stood an orc, halfway turned to glance at whoever it was that tried to push him, his sharp tusks jutting out from his maw. His brows were furrowed as he looked down on you. Sure, he wasn't as tall as the orcs you've seen around the city and campus but still was over 6 feet, with muscles thicker than your thighs, easily hulking you.

You tried to get out an apology and run as far as you could go, but you just sat there, frozen as you strained your neck to meet his gaze, you couldn't look away. Your heart was trying to claw its way out into the surface.

Then you felt the tears swell up.

They cascaded down your face before you even could stop them.

The orc's eyes widened at your reaction and crouched down to your level in an instant that he almost fell over. His hands hovered, not sure what to do.

"Hey, hey, please don't cry. Please don't—"

"I-I-I'm re..really s-sorry p-please don't hurt m-me..." You managed to choke out pathetically, hiccuping in every word.

"Shhh now hey, it's okay. It was an accident— what? No! Why would I do that?" he replied. The orc peeked over his shoulder and to the sides. "Let's get you to somewhere, uh, less crowded," he added. You turned your head and saw that you had an audience, whispers went around as they sent pitiful and disgusted glances in your direction, only making you cry even more.

He proceeded to unceremoniously lift you into his arms, bridal style, and dashed away. You gripped the front of his shirt and shut your eyes. You were trembling now, scared of what he might do to you. How could you even fight back with your small stature?

It wasn't long until you felt him slow down and placed you carefully on a bench. The orc knelt in front of you, brows scrunched up as he studied your face.

"You okay? I didn't hurt you, did I?"

You didn't reply, only staring at him through your glassy eyes as you heaved.

You flinched when his hand started rubbing your back, his other hand placed on the side of the bench to balance himself.

He continued to caress your back and murmured soothing words in hopes of calming you down.

Your tears didn't stop falling until moments later when you came down from your initial fear, the warmth of his palm leaving your back once you did. All the while the orc remained where he was, at a loss of what to do next.

You rubbed your sticky face with the collar of your pale and blotchy crimson sweater, sniffing and taking slow, deep breaths before you spoke.

"I... I'm sorry for causing you trouble. E-Even going as far as to take me somewhere quiet. I...appreciate that." You thought you'd pass out with the way people gathered around you, it was suffocating. "Thank you..."

"I panicked," he started, "Sorry—I mean, it's okay, you didn't do anything wrong. I get that a lot of people run away from the sight of me, but you didn't, and just froze there on the ground so..." he shrugged and rubbed the back of his neck.

You shook your head. He was such an imposing figure to many, their first thought was most likely to get away or scream at him.

"You looked angry... When I bumped into you." You slammed into him actually, but he didn't budge an inch. Guess it was one-sided.

"Oh, that? Well, my brother scolds me a lot for having such a grumpy face, scaring humans away. Like he was the one to talk when he's taller and bigger than me! People would faint on the spot when they see him, I bet!"

The image your mind conjured up tore a laugh out of your body, two orcs arguing about how not to terrify people at sight was damn hilarious. When was the last time someone made you laugh like this?

The orc grinned, your reaction a contrast to that of earlier.

You opened your mouth to say something but the ringing of the great bell resounded, cutting you off. The two of you stood up as you realized you were late for your first class of the school year.

"So, uh, what now?" you asked.

"How about we go to our class, then maybe meet up later? Oh, fu— my mother will gut me— I haven't introduced myself!" He blurted out, his voice making you yelp with the sudden outburst.

Clearing his throat, he reached out, "I'm Duruk."

In turn, you gave him your name, taking his hand and smiled. "Hello, Duruk."

•

True to his word, you met again later when lunch came. The cafeteria was packed so you settled on getting the convenience food they offered and eat somewhere quiet.

Your conversation that day spiraled when you found out the two of you had a lot in common. From your favorite rock band to your favorite flavor of ice cream.

You both strongly agreed that vanilla ice cream was superior.

You agreed to meet up during breaks, always having something to chat about.

Eventually, you became inseparable.

He even changed and transferred to your class just so the two of you could be together at the start of the day rather than walk half of the campus to see each other every time.

You became best friends, sharing each moment in school, may it be helping the other stay awake in a boring class, or copying homework when one of you forgot to do it. Soon enough, Duruk started inviting you to his house to hang out. He did mention he had four other siblings, but he lived alone. You came by almost every night and on whole weekends to escape from home, only a few miles in between. No one would notice you gone anyways, but you returned around midnight, not wanting to impose on Duruk no matter what he says, so he walks you back instead.

You basked in each other's company. The odd and scrutinizing glares didn't go unnoticed when you two were together, but you shrugged them all off.

It didn't take long before you started having feelings for the orc, a little wishful thinking that you could be more than friends. You noted lately that his touches would linger seconds longer than usual, hugs and even a hand on your shoulder and back seem to be warmer and —you dare say— affectionate. It weighed heavily on your heart, your simple crush turned into something else, and it only grew with each passing day, and every laugh you shared.

But of course, you swatted those away, buried them deep inside every damn time they climb back up. Who could even love you? Yes, you have Duruk, he likes you, you think. But that's the end of it. Just close buddies. You can't take the risk of ruining your friendship with him and make things awkward with the only one you had! What if he stops talking to you, weirded out by your confession? You don't want to go back to being alone again, your heart can't take the rejection that came with it.

So you endured.

•

A little over five months ever since the embarrassing accident, here you are now, stargazing with your best friend.

"Well, good thing you didn't watch where you were going that time then," he says, chuckling beside you. His hands cushioned his head against the hard surface. "I wouldn't have..." he trails off.

"Hm, what?" you ask. Duruk went silent and didn't answer you for a time. You were about to let it slide but then he breathes in audibly.

"I wouldn't have met an angel if you did. Should've caught you in my arms, but sadly I didn't move fast enough." He replies, his voice deep and mellow.

You straighten up and turn to face him, your brows shot up, incredulous to what he just implied.

"W-Wait. What?" you squeak, your heart thumping hard in your chest, your skin warming up even in the chilled night air.

Is he—

"You're so cute, y'know that? Fuck it, it's all or nothing," he whispers under his breath as he sits up to face you. His expression was unreadable, but you see in his mahogany eyes a familiar glint of determination. "I'm not good with long-ass speeches so I'll make this short," he breathes in before he continues, "I feel something for you, for a while now, more than a best friend does, like...in a romantic sense. I want to cherish you and hold you in my arms every time I see you, I- ah fuck- damn it I just—" he growls, "I love you, so much and if you don't love me back then please re—"

You shut him off with your lips against his, Duruk's tusks pressing against your cheeks as you held his face in your hands. He was stunned for two solid seconds before returning the kiss, his arms snaking around your waist and pulling you close and into his lap.

You feel something wet roll down your hand and you immediately jerked back to see his face. The orc was crying.

Did you do it wrong? Were you so terrible at it—

"I don't deserve you... A monster like me doesn't deserve an angel like you."

Where was this coming from??

"Say that again, I dare you."

"I don't de—"

This idiot!

You pecked his lips to cut him off.

"You big dummy," you begin, "I love you too, idiot. You may be a monster but not what everyone else defines you as. I love you as you are. You're my best friend, and dare I say my l-lover now. Is that right...?"

Duruk gives you a small, gentle smile, "If you'll have me, then yes, for as long as you want me to be." He says, sniffling a sob as a couple more tears tumbled down his rugged face.

You never thought you'd see him like this. He was the one who kept making you laugh with his stories and terrible jokes. Before you, in your hands was someone vulnerable, his eyes soft and fond as he gazed into yours.

It made your heart pound and it hurt.

You leaned in and he met you halfway, kissing once again, deeper and more intimate this time. Real. You brought your arms around his neck, your tears spilling out and he tightened his grip around you. It felt like a dream, too good to be true, but the way he hugged you like you were the only thing that anchored him in this world made you believe it wasn't. All of this was real and you couldn't be anymore happier.

From above, the glittering stars, the light gentle as they shone, bear witness to two freed hearts, bottled up feelings gushing out like a broken dam as you embraced one another and lost yourselves in the moment of bliss, cheeks stained and clothes lightly damp from the tiny rivulets of liquid that dropped down.

It's a lovely night, isn't it?

[wincestation]

Wincest in the Pilot (aka my final paper)

2k of academic rambling. I got plenty of help and inspiration from this post and this blog review. Also huge thanks to @s2e11playthings for helping me find the latter. It is me! Essay-anon came out of the shadows!

The first interaction between the two brothers as adults occurs when Dean sneaks into Sam's apartment in the middle of the night. Sam fights the intruder before the latter pins him to the floor, making him realize it's his brother. The first words Dean tells him after not seeing him for two years are, "Easy, tiger." Dean's hand grabs Sam's neck and he smiles broadly at his little brother. As stated in the subsequent dialogue, the reason Dean appears this way is because he knows Sam would not have answered the phone if he had called. Why? the only reason Dean would call (which is also the reason he showed up) is that something happened to their father. Sam knows this, and maybe he didn't care if something really did happen to John. But what if John was the one who called? Maybe then Sam would answer, because he knows that this phone call has a different meaning: something happened to Dean.

Sam and Dean step outside to talk. Sam initially refuses to come with his brother, saying he is done with hunting, with the life that Dean and their father lead. Dean mocks Sam's aspiration for a normal life, perhaps as part of an attempt to persuade Sam to come with him, and return to the life they always shared together. After an argument between the two, involving emotional manipulations on both sides ("It wasn't easy, but it wasn't so bad", Dean dismisses Sam's words; "Do you think Mom would've wanted this for us?" Sam touches on a sensitive point), Dean understands that his brother is not about to give up, and finally reveals the real reason for his arrival:

Dean: I can't do this alone.

Sam: Yes, you can.

Dean: Well, I don't want to.

Dean completely contradicts everything he had said up to this point. In this sentence he expresses an emotional need for Sam, not a practical need. He could have sought out their father alone but chose not to; Maybe he saw the danger to his father's life as a good enough reason for Sam to come back to their lives again. Sam can not remain indifferent to this emotional vulnerability, and agrees to come with him - not because he cares what happens to their father, but because he too, like Dean, needs his brother and does not want to say goodbye to him again.

Sam agrees on one condition: he has an interview on Monday and he must get back on time. Dean agrees. Sam could have offered Dean to sleep on the couch and drive in the morning, or even go after the interview. But he does none of these things, and travels with him at that moment, in the middle of the night, without providing explanations to his girlfriend and without even kissing her goodbye. "At least tell me where you're going?" She calls after him as he leaves, with no answer. This urgency can be interpreted as a concern for the safety of Winchester Sr. but given the relationship between him and Sam, this is probably not the case. Why then is Sam in such a hurry to abandon the life he, allegedly, wants so much? In light of the dialogue between the two brothers the answer seems simple. He missed his brother, and now that he knows this feeling is mutual, he feels he has a good enough reason to leave the "normal" life behind - even if only for one weekend. This confirmation is the real reason he's arguing with his brother. The dialogue between them, according to this interpretation, is full of subtext:

Dean: I will not go until you come with me, or kick me out of your life forever.

Sam: If you want me to come, you need to tell me what I need to hear.

Dean: Don't make me say it out loud.

The two set out to find their father. After research, Sam and Dean discover that the monster of the week is a "woman in white" - a ghost that kills unfaithful men. Later in the episode, the ghost tries to attack Sam, who tells her she can't hurt him, because "I'm not unfaithful, I never was." She replies, "You will be." The hegemonic interpretation, presumably meant by the creators of the series, is that Sam is about to cheat on Jessica with the murderous ghost (with or without his consent). But Sam being targeted can be interpreted in another way. Is he going to betray his girlfriend by wanting to return to the life he shared with Dean and their father? Or even, can it be said that he did not betray her, but his brother, by leaving the family and trying to live a "normal" life with a woman?

The scene on the bridge, in which another confrontation takes place between Sam and Dean, can also be interpreted in two ways. Sam says, half in mockery and half in pity, "Mom is dead, and nothing will bring her back." Dean, in a fit of rage, grabs his brother and slams him at one of the bridge poles. "Don't you dare talk about her like that." This is of course one meaning of things. Another meaning could be, "Dean, I moved on, and nothing will bring me back." To this Dean responds in the only way he knows, "don't you dare not give up on me like that." Throughout the episode, and in this scene in particular, Dean repeatedly mocks Sam's choice to leave college - "Do you really think you're going to become a lawyer? Marry your girl?" - And this ridicule can stem from jealousy over the seemingly perfect and normal life that Sam managed to achieve, but at its core is another jealousy: Sam chose this life over a life with him.

The series hit screens in 2005. About two months after the premiere of the first episode, a blog review titled "Supermatural is Supergay" was published. The author described the series as follows:

It’s like the Hardy Boys, only gayer. I love the awkward sexual tension between the brothers. […] So Dean is the super control freak “top”. He has to be driving at all times. […] Sam rides in the passenger seat. He’s the soft spoken bottom boy, always staring out the window in this deep, dreamy state of mind. No idea what the hell he’s thinking about, but I suspect he is wondering where this relationship is going, and if Dean will ever say “I love you”.

Wait a minute… don’t get me wrong, I’m not talking about incest here. See, that's the backstory. They are not really brothers. They are secret lovers, hiding their dirty affair. So they pretend to be brothers so nobody questions why they are together 24/7, why they share a bed. […] Throughout the episodes, they give each other hot glances. It’s never part of the dialogue, they just look like they will rip each other’s clothes off at any given moment. […]

UPDATE: On last Tuesday's episode, "Bugs", they were mistaken for a gay couple and then pretended to be a gay couple in the next scene. See, I told you they are gay guys pretending to be brothers. You heard it here first.

Although the writer was wrong in his assumption - Sam and Dean are indeed brothers - he makes a claim that will receive many reinforcements from the fans. There is a certain tension between the two characters, a codependence bordering on desperation that often later in the show will cause them to take extreme steps to keep each other safe. The brothers' love borders on obsession, which caused many fans to agree with the blogger's opinion - just a week after the first episode was aired, the first online community dedicated to the romantic relationship between the two brothers already opened (sn_slash, or Supernatural Slash, "for all your brotherly needs"). It is difficult to say whether the homoerotic clues came from the creators and were picked up by the audience, or whether the audience interpreted the show as he wished and the creators decided to satisfy their desires, but throughout the series there is recognition of the two's special relationship: In "Bugs" [1x08], everyone is convinced they are a couple and they continue the pretense; In later seasons, the brothers discover that books are being written about their lives, and that many fans of these books are convinced they are a couple (in "The Real Ghostbusters" [5x09] in the Supernatural convention, there is a panel called "The Homoerotic Undertones in Supernatural"); And many of the characters in the series, even those who know about the two being brothers, describe their relationship as one of codependence, blind and absolute love, for which they often sacrifice the entire world ("Sam and Dean Winchester are psychotically, irrationally, erotically codependent on each other", [5x19] "The point of no return").

Did the creators not understand that this is the message they are transmitting? It is hard to believe that they were unanimous on the subject, especially in light of all the reflexive references they themselves have planted in the show. If so, what could be their reason for engaging in a relationship that is fundamentally unnatural, perverse and forbidden, socially and often legally? This can be explained with the help of another issue - that of the exclusion of LGBTQ+ relationships from the public sphere and the lack of legitimacy for their visibility. Supernatural hit the screens in 2005, a time that may not seem so long ago, but its gay visibility is still lacking, and in which there was still no legitimacy to present a proud couple in popular culture. Maybe, as the blogger suggested in his review, the creators genuinely wanted to create a series that would center around love between two men, but felt that the world was not ready to see that content explicitly. After all, it was only a few decades ago that homosexuality was also perceived as unnatural, perverse and forbidden. Maybe acknowledging that, the creators chose to turn Sam and Dean into brothers, as if to reassure the conservatives: of course they are not just two men who are together at any given moment, staring at each other longingly and willing to sacrifice the whole world just so they won't be left without each other. That could be interpreted as homosexuality - and beyond the harsh criticism, such TV series simply wouldn't survive (or at least, that is how the creators may have felt at the time). And if some of the fans understood the true meaning in which the creators wanted engage, well, that was not in their hands.

To sum up, it is difficult to argue that this relationship is characterized as purely platonic. Even if the creators did not intend to create such an impression already in the first episode, they were aware of this impression and included explicit references to this unusual relationship. Although only an analysis of the first episode was conducted here, throughout the entire series there are unequivocal statements that support this assumption (some of which I mentioned above, but most of which have been omitted). And perhaps there is no need for many words beyond those uttered by the brothers themselves, for the first time in the pilot, and for the last time in the finale ("Carry on" [15x20]), before they said goodbye to each other for the last time: "I can't do this alone. I don't want to."

[arkus-rhapsode]

MHA Chapter 315 Discussion-An Almost Great Conclusion, But Misses It’s Mark

Hi guys, Rhapsode here and it’s time for another MHA discussion. I haven’t really done one in a while, but after reading 315, I had a lot of thoughts I was working through. And before I start I want to say, I do not think this chapter is overtly bad. I think there’s a lot of good ideas to it, and overall nothing objectively bad. However, as the climax to this Deku vs Lady Nagant fight, I felt it didn’t quite hit its mark (pun not intended).

If you want my brief opinion of this current arc of “solo Deku”, I actually enjoy it quite a bit. I’m happy Horikoshi refocused on Deku after such a long war arc. As well as Deku FINALLY be proactive in his hero duties. No longer on the rails of the school setting. And I have especially enjoyed his current fight with Lady Nagant.

In terms of sheer action, it’s got a tried and true set up of a sniper battle, but then adds to it by taking the fight into the air. The action is hectic in all the right ways with the unpredictable bullets cutting up Deku as he dodges them with Danger Sense. As well as the introduction to a new quirk of OFA.

But where this fight really shines is Nagant and her origin. Lady Nagant was hero assigned to maintain the illusion of order by getting rid of potential threats and heroes up to no good for the Hero Safety Commission. Until being told to kill in the name of improving society and any of her activities being covered up finally weighed on her and she killed the then president of the Commission and placed in Tartarus. While she’s only hunting down Deku because she’s assigned to, she says that even if AFO wants to rule the world, it’d be more transparent than a return to the status quo.

It’s honestly a great reveal as it finally puts out in the open the actual corruption in the system that’s hinted at, but was never really delved into. But now it also finally has Deku confront the problems of the status quo that he’s grown up in. This isn’t an ideological battle like with Stain on the definition of hero or reaching people who have fallen through the cracks of society like Gentle. This is real flaws with the system that people have had faith in from the mouth of someone who has done their dirty work.

It’s something I think a lot of people have wanted to see. And I’m glad Horikoshi finally did dive into it the structural problems of hero society.

So how does this all get resolved in 315? How does all this end? Well after Lady Nagant targets Overhaul and shoots at him to make the situation harder for Deku to focus, Deku without hesitation goes into trying to save Overhaul (despite knowing Overhaul is a villain), Deku homages All Might and then shatters Nagant’s arm, and finally Deku makes an observation that Nagant wasn’t really going to hit Overhaul and that if she seeing the darkness of society, she knows where to expose it as she still has the heart of a hero. Nagant should join Deku.

But then AFO activates an explosive power right as Nagant is coming around. The blast fries her as Hawks arrives and we’re left on the cliffhanger of “is she going to survive.”

Now after reading this, my feelings have been… mixed. Let me get out this out of the way there is nothing with this chapter I disagree with: I have no problem with Deku making an emotional appeal to Nagant, I have no problem with AFO acting like a heel, and I have no problem with Nagant not being fully evil and never intending to kill. I know that last one has upset some people, but given Nagant’s backstory of killing innocent people for others because they told her so is the reason she fell off her path in the first place. So it makes sense she never intended on killing anyone.

And I know some people have nitpicked how it’s the female villain who isn’t fully evil, but that honestly doesn’t matter to me. As narratively, this arc started with the attack by Muscular and Deku couldn’t reach him. So it’d make sense to potentially end this mini arc on an example of Deku reaching and reforming a villain. It also helps that Nagant has actual layers to her motivation that could actually allow her to be swayed away.

Now my real issue with this chapter is honestly a problem that I was afraid Hori would do after he introduced just how messed up the Commissions back dealings, it’s that Deku doesn’t really take any concrete stance on what should be done about this status quo. Instead, Deku focuses more on telling Nagant she is a real hero and he ultimately wins her over after showing how much a real hero he is.

While Nagant uses the term “fake”, “sham”, and “phony” when discussing heroes and hero society, it doesn’t address the bigger issue. Namely that she feels this way because of the corrupt and unheroic things the Commission has done to maintain faith in it. Deku offers no actual answer to the very real and very hard question she poses.

And his only real response is this:

(I’m being generous as there can be something lost in translation here and it’s a bit on the flowery side )

While Deku did acknowledge this world isn’t Black and white and he’s saying she can expose corruption if she works with them, he dodges actually offering a solution to her concerns about the status quo. Instead more time is devoted to the same kind of “I will save anyone” appeal he always does.

And while one could argue Nagant’s only on the side of AFO because his reign would keep the Commission from having the power they did, even if she doesn’t fully believe in him. She still poses why being ruled by AFO has its appeal to her and Deku doesn’t actually counter that. No pointing out the obvious anarchy that could result from this or how AFO uses even the people he claims to love like Shigaraki. Deku doesn’t rebuff anything and once again passes the tough decisions onto other people. With Hawks appearance here at the end and his baggage about killing Twice, I can very easily see cleaning up the commission as becoming his motivation going forward. Once again resolving Deku of actually needing to make hard calls or form stances.

This is compounded by the fact AFO just blows Nagant up. It really doesn’t matter if you rebuff anything that AFO has said or offered to convince Nagant to join you, there’s no way she’d work with him after he attempts to kill her. Which feels like it undercuts this conversation about morally gray society.

Look we all know that AFO is evil. The audience knows and this is absolutely what he would do, but if you’re trying to give all of the illusion that we’re finally confronting issues with society and bringing this up and why we would get people loyal to AFO or people like the liberators or people like stain. And trying to sway someone away, then just having him nuke them for having a change of opinion. then it undercuts any actual ambiguity of a clash built on addressing moral grayness. Which I feel is always been one of the strengths of MHA.

I was not expecting Deku to have a thesis on how he plans to dismantle the shady parts of society. Or go full Eren Yeager and become his own revolutionary. But when confronted by a villain who isn’t like Shigaraki or Toga or Twice, who fell through the cracks in the system and needed a safety net like Deku wants to be, Nagant was a part of the system. The corruption of society runs deep in her motivation and Deku doesn’t really address it beyond acknowledging its flaws. And yet his actions of “true heroism” are enough to sway her. It just feels incomplete. There is a brief line that you can interpret of him wanting to clean up the system, but it feels way too short for a moment like this. Deku being confronted by all the darkness of a system he admires should cause him to make some kind of stance.

And no, I’m not going to speculate on if Lady Nagant is actually dead and this will finally forced Deku to take a firmer stance or what have you. I do want to keep these discussions at least relative to when they are released and in this moment the thing that wins over Nagant is the same “save everyone”/“inspiration by example” Deku usually does. Which doesn’t feel as satisfying a conclusion as it could be.

Not helped by a good chunk of this chapter being taken up by explaining all the bits and bobs of OFA’s power system and finally explaining what exactly his third quirk does. This feels like padding when I wanted the space could’ve been used for character dialogue or a continuation of their conversation about the status quo.

I do want to repeat though that there is nothing outwardly bad with this chapter. There is no real objective failure in the writing. It’s just a case of, “ this could be stronger.” And that’s the frustrating part.

Tl;dr there’s a lot of things that are good about this chapter from a technical and narrative level. The natural progression of characters and the switching of allegiance makes sense.  however it’s just all shy of really living up to a lot of the stuff it sets up about society and going back to the status quo. As Deku doesn’t seem to have any real concrete stance beyond his usual.

And because a lot of the things around it are very good it makes it a lot more noticeable when it doesn’t quite stick the landing. Not helped by what feels like nothing more than padding with the explanation of quirk ability instead of character introspection about this very legit and difficult revelation. There is nothing outwardly bad, it’s one of those cases of something that could be an 8-9/10 ends up more as a 5-6/10.

That’s my opinion at least. But I am extremely interested in seeing where Hori goes with this. Thanks for reading and I’ll see you next time.

[ruby-whistler]

This is targeted at your dream apologist post, just to be up front. Just wanted to give my two cents in on some of the stuff w/o doing a whole rebuttal, since… I don’t really want to lol. To start off, I had an issue with how you framed the beginnings of Lmanberg. How Lmanberg formed wasn’t colonizing, it was just independence from the greater dsmp from a set of members that disliked the way things were ran by Dream (and by more direct extension, the rest of the dsmp citizens, namely sapnap.) Dream was protecting his power, not any kind of attachment made to the server, I’d argue, becuz in the end the way he relinquished control was by gaining more; by getting leverage over one of the original members, Tommy, via taking his discs.

Another thing, you shouldn’t be angry at ppl for not feeling sympathetic for a character that’s done such heinous things against other characters. You’re more then welcome to feel bad for him yourself, but no one else has to. After watching the whole of Tommy’s exile arc, it’s very clear to see the Dream was cruel and horrible to a child that hardly deserved it. Dream was dehumanizing to Tommy. Making him put all of his self earned items into a hole every visit and promptly destroying it all, telling Tommy that his friends don’t miss him, blowing up Logstedshire after finding Tommy’s secret room (that he hid from Dream to stop him from destroying it) filled with Tommy’s resources for escaping, not even allowing him to leave, these aren’t the actions of a good person put into a hard place, or a person with trauma dealing poorly with said trauma. That isn’t justifiable. Dream shouldn’t be allowed to hurt and inflict trauma onto another person becuz he has trauma. What he did to Tommy and to his friends (saying he didn’t care about them, saying he only cares about Tommy’s discs, Sapnap even had that sad moment of “you don’t think he meant it did you?” which. Yknow. Look between the lines methinks) was awful and doesn’t have to be forgiven by either the victims or the fans of said victims.

My opinion on the prison stay is…. I don’t really care lol. I definitely do see it as he deserves it, because what he did to Tommy was horrific. I don’t have any real sympathy for an abuser, especially one that does shit that I’ve had done to me before and done against a character I relate to heavily. So. Sue me if I think that Dream should have his shit rocked. Ignoring that Dream had very clear reasons as to why he was put into the prison and the fact that many characters have reasons to hate his guts and also not feel sympathy for him is…. Definitely the Dream apologist mantra. Noah fence ^^

One last bit since this ask is getting real long, but it was narratively cathartic to see Dream actually receiving punishment for his actions. Cathartic quite literally means “psychological relief through strong emotions” so. Yeah. Sorry ppl were getting it mixed up with catharsis, but there’s the word they probably meant to use. Didn’t realize it would be such a crime to mix up two very similar words but what can you do with a younger audience.

This isn’t meant to be an attack, or mean, so I’m sorry if I’ve been a little passive aggressive in my wording, but to be fair. Your post was as well ^^ Cant wait to hear your response, if you feel like giving one.

Alright, so first as a quick disclaimer, I’m going to out a summary of the original post’s points, just to ensure that we’re on the same page;

The post does say:

- don’t dehumanize c!Dream because it continuously hurts people who relate to and/or sympathize with him, also dehumanization in general is an inherently wrong mindset

- don’t attack people who sympathize with him because he’s a victim of abuse besides other things

The post never says:

- you cannot hate c!Dream and not sympathizing with him is wrong

- the things c!Dream has done are to any degree excused

- don’t dehumanize c!Dream because he’s a good person

- people who dehumanize c!Dream are real life abuse apologists

If you read the post and didn’t get these points from it, i advise you to reread it as I made pretty much all of these abundantly clear.

I don’t know why you’d start talking about L’manberg, but sure; I never said it was colonization. I said some people who have had their country colonized relate to him because he had his home torn apart and is desperate to return it back to its original state. This is a completely valid reason to relate to him as it is a pretty big part of the character.

Dream wasn’t protecting his “power”, because he didn’t actually have any power on the SMP besides technically owning it. Before L’manberg, all he’d do is walk around, fix creeper holes and the prime path, jump into conflicts and end them if they got too pointed - he even fixed Tubbo’s house once after Tommy burnt it down, he got unfairly mugged by Sapnap and Tommy because he had weaker armor etc. He never used his position as landowner unfairly and was on the same level as any other member; his only concern was too keep the community united and semi-peaceful. Of course he had an attachment to the server, it had been his home for months, maybe more on the SMP timeline.

Do you genuinely think listing the bad things he did is going to do anything to my empathy or the empathy of other c!Dream fans?

I saw the entirety of the exile arc live, and I saw what was happening, and I hated it, and I hated c!Dream. Yet I’m sympathetic to him when he goes through a similar situation, perhaps because I’m not a biased hypocrite.

I never said c!Dream was a good person. Saying “these don’t look like actions of a person with trauma” doesn’t make sense to me because, as you said later on, it isn’t justifiable either way. I’m not saying anyone has to forgive him. You don’t need to forgive an abuse victim for their prior actions to recognize their situation is messed up. You’re making up points to fight against in your rebuttal that I never actually said.

I’m not saying “don’t dehumanize c!Dream because he’s a good person”. I’m saying “don’t dehumanize c!Dream because he’s a person and dehumanization is wrong” and “people who relate to him shouldn’t be hurt or harassed”.

He didn’t even do “terrible things” to his friends, by the way. Tommy has said like five times that he doesn’t care about anyone but the discs but when he said that isn’t true his friends believed and forgave him. Dream says it once while something that matters to him is being threatened, so that it doesn’t get destroyed, and suddenly he’s hurting his friends (double standard methinks). As if he didn’t repeatedly try to help them and care about them up until that point and they abandoned him even despite his prior actions. He did things that might’ve hurt them, but that doesn’t compare to the amount of things he did for them. Saying he doesn’t care is blatant mischaracterization.

If you think (fictional) people who have done bad things deserve to be horribly abused and have their basic human rights violated, you know what, you do you. Be a fictional abuse apologist, be as bad as the people who say c!Tommy deserved it, go on. I disagree with you however, and I’m sure many people who are actually sensitive and care about/relate to fictional abuse victims (I have seen many c!Tommy apologists say the torture is awful and he doesn’t deserve it, thankfully) will disagree as well, so why should I care about your wrong opinion? If you’ve dehumanized him and are failing to see you’re incorrect and hurting people, bad for you. You’re just proving me right that this is a very real problem that this community has to do something about.

[itsclydebitches]

The lack of action from our "heroes" is eerily similar to a Nostalgia Critic sketch I saw when I still watched his show. The idea was that to parallel what was reviewed in the episode, Fantastic Four, where the heroes barely did anything for most of it, Doug and his friends got superpowers and only choose to sit on the couch and watch Netflix while the world is under attack. The only difference is that was meant to lampoon the movie, and wasn't meant to be taken seriously.

Massive replay incoming! I haven’t seen the Fantastic Four, but I do still have a lot of thoughts on this choice and how badly it came across... 

Though we can absolutely debate the merits/detriments of having 3/4ths of your title characters keeping to the sidelines while the Big Bad is here, I 100% believe that this could have been improved immensely if RWBY a) were more consistently written and b) allowed its characters to tackle conflicts central to what’s currently going on, not conflicts made up just for the sake of having a conflict (Yang randomly fights with Ruby, Ren has criticisms and then never brings them up again, etc.) 

So what do I mean by this. I mean that the fandom isn’t necessarily wrong to argue things like, “RWB needs to be there to help Nora and Penny” or “They need time to regain their aura.” The problem is that the show never established these needs as necessary. The viewers have simply assumed those needs are there and judge the group’s actions accordingly. But for those of us asking questions like, “But how does Ruby standing by the window benefit Nora?” or “How long does it really take them to regain their strength?” we’re never given answers and thus are left with the belief that these needs do not exist and the group’s choices are not justified. It becomes, as you say, akin to a parody. 

So how do we fix this? By having the show acknowledge those questions and provide believable answers. A few minor tweaks might include: 

Having someone ask how long they’re just going to sit there. Let another character argue that they need to rest up before they do anything else. They can’t help others if they’re collapsing themselves. Then, keep these limitations consistent across the volume. In the last episode, Ren was suddenly using his semblance again, despite his aura breaking with very little time having passed between the two moments. So if he only needs a tiny chunk of time in horrific conditions to recover, why does team RWB supposedly need the whole day and night in complete safety, with heat, food, etc.? If “We have to recover” is meant to be a justification, show us elsewhere what lacking that results in: Ren, Jaune, and Oscar do not get their aura/energy back, they’re making mistakes, at the end of their rope, and generally not functioning because look, their conditions are so much worse. This is why a mansion break is necessary. 

Have the group actively be trying to solve their problems. We didn’t start with “Someone needs to watch over Nora” we started with “Nora is incredibly injured and needs help”... but no one ever tried to get her help. Have them cycle through and reject some possibilities. Then have Weiss think of calling Klein and approach Whitley to see if he knows how to contact him. There, your protagonists are active and Weiss is helping to repair this relationship. As it stands, the group appears content to continue sitting around while Nora suffers, despite knowing she needs medical attention. We know, emotionally, they’re not actually content, but that’s what the actions imply. Where’s the scene where Ruby frantically asks May if the Happy Huntresses have any doctors and is it possible to bring one here? Where’s Blake hesitantly asking if it’s worth going back to Ironwood to get her help? The fandom assumes that sitting in the mansion = devotion to helping Nora, but we don’t actually see them trying to help Nora. Not in any meaningful way beyond putting cold towels on her head. What are they willing to risk and sacrifice for their teammate? Because sitting drinking tea while they hope things will magically fix themselves doesn’t convey much. We’re not talking here about how much the fandom assumes the group will do for Nora, we’re talking about what their actual actions read like. 

Establish then why it takes three powerful fighters to watch over one unconscious woman already being cared for in a comparatively safe environment. The fandom acts as if Nora is a target when she’s not. No one is explicitly after her. If anything, given the initial assumption that the Hound was after Ruby as a SEW, she puts Nora in more danger by hanging around. Have the group debate the merits of being here to defend her if, by chance, something happens vs. putting their skills to use during a battle where very few huntsmen remain. 

This debate should include the fact that half their team is missing. Not gone, missing. Last RWB saw they were going down to Mantle to help with general needs and low-level grimm activity. Now they’ve been MIA for hours. Blake, as the assumed love interest, and Ruby, as the sister, should be particularly desperate to find out what’s happened to Yang. If the group has to stay in the mansion for plot reasons, have Weiss talk them out of running into Mantle without a plan. What if what happened to the others happens to you too? The point is, May shouldn’t be the one concerned about the rest of the team and May shouldn’t be the one out looking for information. 

Let the group actually decide something for once. Show us that they were going to help Mantle or Atlas and then, oh no, Penny interrupted those plans. As it is though, that scene frames it like Ruby will happily continue hanging out in the mansion until something else  — something more dangerous than May’s demand to choose  — forces her to take action. Indeed, that’s precisely what happened with the Hound. 

Have Weiss or Blake begin to question why Ruby isn’t doing anything. Weiss has a whole conversation with May about how she wants to protect her home now. Blake is all about faunus rights and protection, with a whole faunus population freezing to death down below. Have one of them threaten to walk out, or actually do it with a, “You don’t need me to watch Nora sleep. I’m going to go do what I can.” These characters are supposed to be people with differing motivations and goals, yet whenever that should matter they’re suddenly happy to follow Ruby, even if by all logic there should be disagreement. 

Have Nora wake up and tell them to do something other than waiting by her bedside. Let her be the one to get them back on their feet, showing them that she’s fine  — she will be fine  — and imploring them to help even though she can’t right now. 

Explain to the audience what the group plans to do with all these civilians once they’re in the ships. Are they coming to the mansion? Try to fly them out of the kingdom? This is the one thing they’ve done since Amity and we’re given no indication what the actual plan is, let alone any debate about its merits. 

Have Ruby be the one to see Penny in her controlled state, not Whitley, and give us some insight into what that means for her. I’ve likewise seen a lot about how Ruby doesn’t just need to look after a sick Penny, she needs to be there to protect Penny and others from her... but does Ruby even know what’s going on? Penny clash-lands without an explanation, she’s busy with the Hound, Whitley and Willow see her heading to the vault, the Hound knocks Penny out, Ruby is distracted by reunions and Ironwood’s threat. The imagined scene where Ruby learns what’s happening to her friend and weighs the dangers of leaving a controlled Penny alone in the mansion are just that: imagined. 

That’s really just a small sampling of options here. As said, there are plenty of ways to tweak this plot to make the heroes seem far less passive than they come across here. The fandom often claims that those who criticize this plot-line don’t understand “show don’t tell.” Meaning, RWBY supposedly showed us something rather than telling us in a hand-holding way and we just didn’t understand it. It becomes more of an insult than an argument, the claim that RWBY wrote something nuanced, it’s not their fault you couldn’t grasp it. But it’s not that we missed the answers here, they simply don’t exist, and the fandom has made up their own answers instead, mapping it onto the canon and assuming that’s what RT intended all along. One individual’s ability to come up with a answer does not mean the story actually gave one, it just means we’re all writing RWBY fanfic in our heads while we watch the show. 

And this is by no means an isolated incident. It happens every episode. Our latest bout of headcanons has come about due to the questions, “Why does kinetic energy only hurt grimm?” and “If it only hurts grimm, why was Hazel supposedly destroyed?” Each viewer is providing a different answer  — “Kinetic energy is different in this world,” “It has to do with the amount of dust in Hazel’s body,” “The blast went in one direction, towards Hazel, and decimated everything in its path, but the aftershocks only hurt grimm”  — all of these complicated, unsubstantiated, and ultimately noncanonical explanations... rather than just saying, “Yeah, it doesn’t make sense based on what the show has told us.” The mansion issue is just a particularly egregious example because we recognize that there’s a major problem with taking your main characters out of the action like that. Yet rather than acknowledging the problems with the writing, many fans are determined to fill in those answers themselves until it makes sense. And it does make sense! So many of these explanations would work, but right now they do not exist within RWBY. If we’re supposed to have an answer like, “The group knows they need to go help, but they’re just too traumatized and exhausted to do it. They know it’s wrong, but they can’t move” then tell us that. Show us that. Make it clear for the audience what the takeaway is. Because when you leave it entirely up to viewer interpret, you might indeed get a lot of “They’re just traumatized and need a break” explanations... but you’ll also get a lot of, “Wow, they’re a really cowardly and callous group, huh?” explanations too. One half of the fandom shouldn’t be mad at the other half for interpreting a completely subjective plot-line differently from them, everyone should be mad that our writers didn’t bother to include the canonical explanations from the get-go. 

[mchalowitz]

the woman is the king

summary: a throughline of the matriarchal scullys; be they ethereal, sharp-witted, and ill-omened. 

this is a revamped version of my unfinished wip chain reaction. some of it will be familiar but don’t worry, there’s plenty that’s brand new. it’s been a minute and i wanted to give the idea what it deserved. i’m hoping to post a new part every friday for the month of october! so with that we have

part 1: melissa

----------

Her door is barely open enough for a hushed conversation.

“It’s Friday night, Mulder.”

Scully keeps attempting to have a separation between work and home. After the underwhelming experience with Rob, she is sure Mulder is aware of this; that she wants to have a semblance of a personal life, even if she is dedicated to their cases. He is making it prove difficult, with his work and his interests so intertwined. It never ends.

“I know, but these reports just came through,” he insists. “You need to see them before…”

A cacophony of flatware and curse words comes from the kitchen. Scully continues to stare up at him, unperturbed, but Mulder’s eyes flash upward over her head. Behind his eyes, he is creating a story; putting together puzzle pieces that do not exist. 

“Got a date in there, Scully?”

A female voice, its volume raising in comparison to the muttered expletives, calls, “Dana, is that the pizza?” 

“My sister,” she corrects. 

Scully has seen Mulder reserved in the face of criticism, but he seems sheepish, maybe even embarrassed, at the idea that his obsessive nature was exposed to this audience. She finds the bashfulness radiating from him to be endearing in a boyish sort of way.

He gives her the stack of papers held together with a binder clip. Not one of the small ones, no, one of the big ones meant for thick analysis that will take an entire weekend to sift through. “Just look them over when you get a chance,” he tells her.

She nods, and when the door is shut, Melissa appears behind her like a graceful apparition. “Working on a weekend,” she marvels. “Sounds like someone else I know.”

“Shut up.”

“Are you going to ask him out?”

Scully turns away, retrieving her wallet from her purse, and starts counting out bills for their soon-to-arrive dinner. “It isn’t like that with Mulder, our relationship is professional,” she babbles. “I already got caught up dating in the bureau before and people that really matter in the FBI are finally starting to see my value after two years of paying my dues at the Academy, I’m not going to jeopardize my future by consorting with my partner.”

"Consorting?” Melissa retorts. “Come on, Dana, be honest. If he were just a guy on the street, would you?”

She thinks. Mulder is ambitious, brilliant, and has an unrivaled sense of humanity. His dedication is frighteningly thrilling. It gives her an enthusiasm to strive for more.

Scully realizes the list could go on. Mulder’s positive qualities are more than can be said about most of the men she’s been involved with and in only a short amount of time knowing him.

Yes, she probably would. If he were just any guy.

The doorbell rings.

“No.”

--

Exiting the elevator, Mulder has anticipation in his step. His keys are already out and he hopes he’s beaten Scully to the door. It’s her first day back in the office.

And after interviews, and doctor’s approvals, and signatures, she’s been fully cleared to be back in the field. Fearing desk duty or reassignment, both of them are quietly ecstatic that they can pick up their work.

He nearly jumps when he sees a flash of copper in front of the door. Damn. But then he notices it’s attached to an unfamiliar head on a taller body. It’s Melissa.

“How did you get down here?” he asks, no introductions. Melissa steps aside so he can unlock the door. He invites her in with a wave of his hand.

“You would be surprised how far you can get with some kind words and a good explanation,” Melissa says. She runs his hand over the books on top of a filing cabinet. She looks over her shoulder at him. “Something to consider for the future, Mulder.”

He continues to stare.

“I told security I had an appointment with you. No one argued,” she smiles, almost amused with herself. “Dana tells me we’re very similar. With all of our ‘wild ideas.’ You know what wild ideas I have, Fox? The concept that my sister can go to work and no one has to worry that they’ll never see her again.”

Scully knows the risks of the job, Mulder wants to say. Do you really think I get a vote on the decisions she makes?

“I care about Dana.”

“Then you’ll go easy on her.”

He nods, even though it’s a lie. He wants it to be the truth. The question isn’t whether he’ll go easy on her or not. He already knows, and he believes Melissa does too, that Scully will only push harder if he tries to lighten her load.

When Melissa leaves with a warning glare, Mulder shuffles papers until Scully arrives with Dr. Pierce. He promises himself that he will not be compelled by whatever this guy presents to him. Above all else, they will not take this case.

Listening to the tale of something possibly wandering around in temperatures of 130 degrees, he repeats not interested to himself, even though he is really, really interested.

“I want to work.”

He reminds himself of his conversation less than an hour ago.

Lead investigator is not a title Mulder takes that seriously. He has never been able to successfully sway Scully in her beliefs and pulling the authority card doesn’t seem like a tactic that would go over well. And while it’s a fact he will keep to himself, in her absence, he sees how utterly incompetent he can be without her.

He’s got an angel and a devil on his shoulders, two dueling Scully sisters. He suggests time off anyway.

“I’ve already lost too much time,” she replies. Oh, that guts him. She knows how easily convinced he can be with some good poetic phrasing.

It won’t be a very intense case. Probably just watching that same footage, giving some opinions on the evidence. It’ll end up being something they can toss to another, more equipped agency. The explanation soothes him enough to not block the door when Scully leaves to pack a bag.

Lying in a month-long quarantine, he has a lot of time to wonder by what means Melissa Scully will kill him.

--

Mulder toes the line between agnosticism and fairweather judaism; a fact that Scully has always respected, and never pushed back against. 

He normalizes empty pews and suspicious clergymen. The sea of mourners for Melissa Scully is a foreign sight. 

Guilt feels like a target on his back and he hopes no one will shoot the proverbial arrow, hoping for a bullseye. Or maybe he does. 

He sits right behind the reserved row and his eyes follow Scully as she walks gracefully up the aisle. She once described her sister as ethereal to him, a gossamer darling, but in her sorrow, it is she, it is Dana, that is the diaphanous messenger of all that is holy and light in the dark.

Scully doesn’t acknowledge him as she sits. He averts his eyes when he briefly meets the eyes of Mrs. Scully. Behind her crow’s feet and unwaveringly maternal gaze, he sees Dana, he sees Melissa.

The priest tells the legend of Melissa Scully that Scully never divulged to him. She studied anthropology at Brown and spent two years on an archeological dig in Peru. In her thirty-three years, she lived in four different countries, but felt a special connection to her teenage years in California. It is possible she cared more for her community than for herself, she appreciated art in all of its forms, and she loved writing letters to her beloved sister, Dana, while she was away at medical school.

Almost imperceptibly, Mulder sees the sharp raise of her shoulders, the sudden intake of breath. Her hand covers her mouth. He reaches forward and places his hand on her shoulder. She lays her hand over his. 

“The dynamic presence of Melissa Scully is a gift to the Lord,” the priest finishes. “Let us bow our heads in silent prayer.” 

Mulder wonders how Scully even allows his presence in the same space as her, allows him to breath the same air when they both know he is the reason her sister is dead. This stupid, this idiotic pursuit of his, that ruins lives with no remorse, and yet he remains powerless to surrender. 

[mryddinwilt]

A Bridgerton Rant

Not that I needed encouragement to rant but @constantvigilante here we go... 

First lets talk background as I think it matters for how I experienced Bridgerton. I read extensively in the Regency Romance genre. Like at least 20 books a year if not more. I have read and not particularly enjoyed 2 1/2 Bridgerton novels. I am a huge Jane Austen fan. I am writing my own Regency romance series and have done a lot of research into the time period. I also adore historic dramas of any time period. 

I should be the target audience for this series. 

Except I’m not. 

Bridgerton is not a show for Regency aficionados, Janeites, or costume drama fans. It is a show specifically designed NOT to be a “regular” period drama. A show that from it’s costumes, to it’s characters, and story telling, is actively trying to break the mold. 

But I LIKE the mold! 

I desperately want more shows and series like the 1995 P&P or North and South or even Downton Abbey (which for all its soapiness is still a show grounded in a historical period). Instead I get Bridgerton. 

Bridgerton with it’s hyper-saturated colors, it’s ridiculous dialogue, it’s vague historic period, and general fantasy feeling. Bridgerton, which feels so far from the Regency period that it might as well be a spin-off of Reign. The worst thing is that since Bridgerton is successful it will encourage copycats and diminish the chance of having good period dramas in the future. I just googled “Best Period Dramas” and Bridgerton was top of the list. Ugh. 

To be fair this problem does not start with Bridgerton. It’s just part of a larger trend in the costume drama genre. I’m just grumpier about it because it’s Regency romance. This year gave us two Jane Austen adaptations in Sanditon and Emma. and both had elements of the issues that plague Bridgerton though neither at the same scale. 

So what did I not like? Buckle up buttercup here we go.

General Ahistorical-ness- The series tries to center itself in a specific time period, they even give us the year 1813, and then proceed to ignore the time period. No mentions of Napoleon, a guy that at the very least the Prince would care about since Bonaparte is killing all his countrymen while he dances with Daphne. We get Queen Charlotte but no Prince Regent (the guy the period is named for) or any of the other royals. No mention of the War of 1812 or the Peninsular War. No mention of anything that would ground it in a place or time. Compare this to something like Poldark or Outlander where the characters are actively engaged in the world they live in. Bridgerton doesn’t exist in the Regency world, it just put on the trappings of it.

Ungrounded/Fantasy (except when it’s not)- I do think that the ungrounded nature of the story is on purpose.  We are meant to be swept away into this fantasy land of pretty dresses, hot dukes, pop-music ballrooms, and consequence free sex (for the guys at least) Even the weather gives us a vague “summer” feeling (never mind that the London season took place in the Winter and into Spring and that by summer everyone was out of the capital because it was hot and stinky). I have argued before that the literary Regency romance genere is way more fantasy than reality and this aspect is in the books. So I guess I shouldn’t knock it for this. EXCEPT they had to go and add the pregnant debutante subplot.

The books don’t have a subplot about a girl needing to marry fast because she is pregnant because lbh it’s too real for a light romance read with a fake dating plot. By adding it the show just highlights the bizarre fantasy of the Bridgerton world. Maria (is that her name?) is literally shown the “poor people” to encourage her to get married fast. If we are going to be in fantasy lets live in the fantasy. Like the cartoonish element and the half-hearted commitment to a time period it creates a dissonance for me.

Costumes- A ton of work and effort was put into the costumes and they are in many way beautiful. But they are also just pure aesthetic. Bright colors (very bright), overblown trim, not a bonnet in sight (I cannot say how much this annoys me). This was not a case of not knowing the period but a stylistic choice. They kept a Regency silhouette but actively used colors, fabrics, and the like that had not even been invented by 1813. Contrast this with Emma. where they gave us a very bright aesthetic while also being highly accurate to the time period (like ridiculously accurate costumes). 

Dances and music- Literally it’s Reign all over again. From the type of random couple dancing to the use of pop music covers by a string quartet. Bonus we get an outdoor ball at Vauxhall... guess the actual building with the ballroom was full.. smh. The choices are deliberate. They don’t want it to feel like a Regency ball room. Too which I ask “Then what is the point of the historical setting?” 

Proprieties- They ignore all the rules of the time. Except when they need them to move the plot forward. For example Simon and Daph have to marry because the scandal of them being caught in the garden. But they were alone in several other scenes in circumstances that, at the time, would have caused the same scandal. There are lots of other instances but I imagine they are the kinds of little things that only someone obsessed with the genre notices. Also no bonnets or hats of any kind...shocking!  Cartoonish- I found the whole thing to be a caricature of the time. The costumes, over saturated colors, and bad CGI of buildings contributed to this. But there were also scenes like “ the gentleman callers” that showed massive rooms just filled with guys holding presents as a means to telegraph “this girl is popular”. Because subtlety is dead in this version of a “period drama”. This could have worked if they were going for an over the top “Importance of Being Earnest” (with Firth and Everett) vibe. But the acting and script were played straight so it was dissonant. I felt like they wanted me to really believe that this was how things worked back then.   All Regency girls are prudes- I know this is an artifact from the original novels but I feel the show plays it up by having Eloise be like “but how is a baby made” and making it a plot point that girls are left in the dark. Eloise’s mother had her babies at home and she would likely have seen farm animals. Plus girls then would be told exactly how and why to guard their virtue and would have experienced other women being pregnant. 

Look I get that most people think that sex education was minimal back then but the truth is that they had erotic novels, drawings, sex manuals, and the upper class were more sexually liberated than is generally thought. Anthony sleeping with an opera singer is accurate. But it would be equally accurate for Lady Bridgerton to have a guy she met up with on the regular just for sex. The upper class weren’t prudes. Like there was a trend for awhile where the women would wear white gowns and get them damp so they were practically translucent. They did this at dinner parties. The Georgians (the Regency occurs at the end of the Georgian period) were not the Victorians. 

Okay that’s probably enough. I only got halfway through episode 4 so there are likely other things I could quibble with (and I am well aware that some of this is quibbling). I am glad that other people like the show. I’m happy they are happy. But I really hope that the next Regency related media I see is not more of the same. So help me if the new Persuasion starts being marketed as “edgy” or a “reimagining” I just might cry.