#but they’re different franchises completely so idk how it would even work

[yanderecandystore]

Could you please do a fanfic for a male version of Yandere! Lady Dimitrescu (from Resident Evil Village game) with the reader.

I really like the Resident Evil franchise but I'm too lazy to know what the hell is happening in the older games XD I'm so sorry about that-

I loved watching playthroughs of Resident Evil Village (can't buy the game ;-;), but I felt like it was a bit empty, idk- I felt like the lords weren't really explored enough.

Also the Duke is the best husbando in the whole game- Fight me! >:3

TW/Tags: GN = Gender Neutral, I normally forget to properly name it when it's gender neutral, most of the time I just say "reader" // maybe ooc // lazy genderbent, I'm terrible with names // size difference // servant reader // mentions of gore/cuts/bruises/blood and deaths (and torture- I'm so sorry-) // reader gets hurt // mentions of vomiting

It's Dinner Already [Yandere!M!Dimitrescu x GN!Reader - Short Fanfiction]

It's dinner time already, unfortunately for you, of course.

It feels almost like a routine at this point- Which in a way, it is! You always take care of your tasks during the day, while dreading the inevitable time for dinner to arrive again.

Everyday, at this exact same hour, you and the other servants would prepare a meal for Lord Dimitrescu and his lovely… Sons…

As someone who has started "working" for their family only a month ago, you can positively say: Starving in the cold woods next to your village would have probably been a more merciful death than the ones you have witnessed at this place. You weren't as accustomed to such brutal executions at your village, actually you hardly even witnessed so much death, at least not so up close.

When you came here, you didn't expect to be instantly comforted and treated with respect- You were a commoner looking for an possibility to thrive in a noble's house, you were basically an easy target for any entitled selfish lord to easily belittle you and make you work for them until your hands would turn to dust. Yet nothing could have prepared you for such an odd situation.

Vampires. Monsters. Fiends if you were bold enough to insult them. You weren't exactly welcomed as much as you were snatched in and now forever trapped inside this castle. You can still hear their laughter… Their insane expressions of pure glee, the way they have bursted into maliciously laughing at your pain as you screamed for help trying to open up their door again and be free from that nightmare.

The chase didn't last even a second, they stabbed your legs with their scythes and brought you deeper inside this hellhole, as you cried your eyeballs out. The sons had brought you back inside so their father could take a look at the "intruder".

An absolute titan amongst the mortals. His height was only a sick reminder of how much power he had over the castle, over his sons, and now- Over you.

He may not have been as massive as he was threatening as you remind him to be, but at the time you were just in awe of his height considering you have never seen someone as tall and as mighty.

Then again- You have never seen vampires as well. Were they the same vampires as the books you've read as a kid? You weren't so sure of it…

You were hoping that if you begged for life and for forgiveness for having disturbed their peace, that they could spare you and let you go back to your village. Sadly enough, you commented on how you were only trying to look for a job as a servant.

You probably shouldn't have given them ideas, but it's too late to think about your mistakes now, however.

The sons begged to see your blood spilled, yet Lord Dimitrescu was merciful enough to grant you your "wish", as he said.

It has been a month ever since you were trapped inside and forced to work as a miserable little servant, and even if you didn't suffer the worst forms of punishments that they had in-store for you, you couldn't help but fantasize about just running away and never turning back.

You're so tired of this castle, of the smell of carnage, of the undeserved and over the top punishments, and especially of the people who would subjugate you to such things.

But at last, it's dinner time already, and you can't keep them waiting.

You feel your hands shaking as you walk out of the kitchen and into the dining room where the masters of the castle were so graciously waiting for you. You know what they're waiting for- But you can't let them distract you, for those that commit accidents are faced with fates worse than death.

Although you would rather do this process quickly, you can't afford mistakes to happen, so you take your time to set not only their meal in front of each one but to also pour "wine" into their glasses. You do all of this without looking directly into their eyes, only bowing down to each one and saying "excuse me"s in what they would call a "decent tone", as the smell of their disgusting beverage starts to irritate your nostrils. If you didn't know the main ingredient to Sanguis Virgins is, you probably wouldn't have this immense disgust over it, but right now just the thought of it makes you want to gag.

Only villains could so easily drink blood, and still make a living out of it.

Your internal thoughts of pure hatred against this whole situation almost completely blinded you to the fact that they were eerily, very quiet.

….

On most nights they would be talking with each other while occasionally making comments about you or your presence. Obviously they were all pretty nasty comments that they somehow expected you to back it up in some way or another, it's when they try to insert you into their conversation that makes you hate this occasion so badly, but it normally ends as quickly as it begins.

But as you are pouring wine to Lord's Dimitrescu, you notice that they haven't said a single thing while you were there. You stop what you're doing as you realize that they were silently observing you this whole time, and as you look into their expressions you come to think that maybe you have messed up-

Somehow, in some way or form, you may have messed up- And the fact this mistake could cost your head only agitates your already very worried mind.

….

A small moment of silence continues before the middle son, Cassandro, starts to chuckle in an almost innocent way- As if he was a kid who just said a bad word for the first time- And as he bursts into sudden laughter, Daniel leans towards Bello and loudly whispers:

"- I told you, they do this every time." To which Bello only replied with:

"- It's almost like hypnosis in a way."

The three sons were mesmerized by your ability to trap yourself in your own mind. They're probably aware that you do this as a defensive mechanism but they still find it comical in a weird way. You feel yourself get more tense as you look up at Lord Dimitrescu and see him staring back at you, with an unreadable expression across his face.

Before you could come up with an excuse to whatever you may have caused to disturb their dinner, the Lord himself spoke.

"- How inappropriate. As my sons, you three should know better than to laugh at our servant's airheaded mind-"

And as he said that, their smiles begin to disappear and be replaced with frowns and a bit of shame as they become stiff at their father's words.

"- And how inappropriate of you, too. To be so distracted in the presence of your masters, that's quite rude don't you think?"

But as he continued their bodies begin to relax once again as they realize he wasn't focusing on them- He was focusing on you.

Words have completely disappeared from your vocabulary as you start to think that maybe you won't be able to see another day after their meal is over. You try to mumble some possible responses before getting interrupted by him once again.

"- It's very rude, so very rude in fact that I think we deserve some answers. What were you so distracted about? What were you thinking that could have possibly taken over your small little head?"

Right now, he was sounding a bit condescending, thankfully not as angry as he would have been with the other servants right about now. Every little mistake was used as excuses for punishments- And if you were walking on thin ice before, right now you are one-step closer to breaking this entire lake and getting yourself killed by the freezing temperatures of the water below you.

Thanks to your luck (or maybe lack thereof, depending on how you see this) Daniel came to "your rescue" by coming up with an excuse for you.

"- Maybe they were hungry." He said without any indications of it being a joke or a lie- As the youngest yet craziest of the bunch, he always had that weird "naive yet dangerous" energy coming from him. He was naive enough to make that statement when it's very clear that you actually despise being near them, but he still was a son of Dimitrescu.

You know better than to underestimate any of these people.

The Lord didn't seem completely convinced as he side eyed Daniel who was blissfully eating his meal without acknowledging his dad's glance or his brother's looks of disapproval.

Without a warning you were pulled closer by your wrist and forced into sitting next to the Lord, who made a sign for another servant to bring you your food. This… Doesn't feel right at all, you're waiting for the worst to come yet you don't feel like you can ever prepare yourself enough for what they have in store.

"- M-My Lord- This isn't needed, I'm fine. I'll just continue my duties, if you can excuse me-" You plead, while trying to get up from your chair.

"- Oh but what host would I be if I didn't take better care of my guests? Poor thing, you must be starving if you can barely serve us wine-" And as his tone gets progressively more sarcastic and a bit louder, you can hear his sons snickering from the other side of the table, but you can't see them since you can't take your eyes away from him.

You're worried that if you look away for just one second, that you may not be able to see ever again.

"- It's so sad when one of our guests feels hungry- What's worse is when we are also very, very hungry."

"- Thirsty, even!"

"- Oh, I can feel my throat drying just at the thought of such misery!- Our dinner seems to be ruined."

You hear their whispers, you hear how they are clearly joking about this- How overly dramatic they're being over something so miniscule as you just- Ignoring them.

Let me remind you this is all because you refuse to look them in the eyes, that you refuse to give them any satisfaction for the heinous things they have done! You've seen so many people get hurt inside this castle only for their sick and twisted thirst and entertainment.

"- Indeed, my boys. My appetite is ruined, though dinner is not over yet-" Lord Dimitrescu spoke as he looked at his sons clearly enjoying your inevitable pain, but before he could continue he turns himself to you again, putting a hand on your arm and saying:

"- Wouldn't you agree?" Loud enough so that his sons could hear it, but soft enough to send the tiniest shivers down your spine.

"- …!"

"- No, no- Please, not again!-" He wouldn't dare do this, would he??

But before you could react he had already done it, you barely noticed how fast he had grabbed that knife to slice your wrist- His hand firmly gripping your arm as he made a deep enough cut so that your blood could be easier to access.

It somehow hurts just as badly as the first time his sons have stabbed your ankles and dragged you across the floor- At least you're not bumping into things like before, and even if it's a deep cut it's not as big as it could be if he used his claws to actually do this.

Oh, oh those claws- You almost thought he would use them on you… Those were something else. You can't remember exactly what happened, and why it happened, but you remember seeing him use those on another servant who may have crossed the line at some point.

Well "crossed the line"- More like "casually inconvenienced him". Lord Alcino may act like an incredibly high noble but he acts so childishly and in such an egotistical manner that you are surprised he can even have a castle like this in the first place! You don't remember what the servant has done to be so cruelly dismantled, but you don't doubt that it was for a stupid reason!

You miss that servant actually- Probably the only person who you actually talked with, and the first one to actually taught you how to do your job… You two could have been friends if he didn't intervene.

You briefly remember those moments before getting to experience the most weird sensation of all- Having your bloody cut be licked and sucked on. It hurts and it stings in a way that not only makes you want to cry but to also gag at the thought of you feeding this monster.

You refuse to look at him even in this scenario, you refuse to see him feeding off your blood… Sometimes you wish you were just as poisonous as some species of frogs, poisonous enough to make his mouth burn so he can experience a fraction of the pain he causes to others.

You tried fleeting away, you tried getting up and moving away but his grip on your arm only helped you in getting closer to him- You have your eyes closed as your only option is to cry and muffle your agony.

But as always, he is not satisfied with you just ignoring him. This was supposed to be a lesson, yet you're clearly avoiding your teacher as best as you can- But not today, little flower, you're not getting out of this so easily.

This is the first time he ever got to really taste your blood, as normally you would be behind the other servants while trying to learn how to please him, the only moments where he gets to see you is when it's dinner time, but oh- You're just so cruel!

Escaping inside your own little head while he has to content himself with just your image. Your presence is very much appreciated around this hour, little one-

He has noticed this before, of course, but it was only when he noticed his son's curiosity over the way you behave around them that made him organize this little trap. He didn't have everything planned actually, his plan only involved getting to this moment no matter what- And oh boy, has luck been on his side!

Your blood tastes better than expected of a commoner, your delicate and fearful whines of pain are just as delightful but what really gets him is this tough persona you try to convince everyone you have- You despise him, and it's clear to see why- But he knows his charms will probably work on you one way or the other.

He gripped your face trying to make sure you'll get to him in the eyes as he has a taste of you. Absolutely delicious, especially after you so gracefully "ruined" their dinner.

His sons were just watching as they continued to drink from their crimson glasses. They were just enjoying the show, as everything seems to easily amuse them- Their father was just showcasing how they were so much better than the common folk, and they have no other option but to take notes and to remember what they have to do if they ever feel ignored by the servants in the castle: Show who are the true masters of this place.

None of them were really interested in drinking from you, considering how all three seemed to recognize how their father has taken a liking towards you. No one would dare mess with their father's prey.

If you had enough strength in you, you would start vomiting as soon as this has started, but the more he takes from you the more you feel like you can barely stay conscious.

He wasn't supposed to take so much, at least not so soon- He wanted to just take a sip but he can't deny the fact he would rather drown himself in your blood than to let go.

He sighs, as he notices that you're slowly getting less and less aggressive, getting more and more tired as he drains you from this cut.

You're not unconscious yet, just barely stable enough to understand what's going on.

"- Sigh… Now that was a decent enough meal." He can't praise you for being tasty, can't have you being cocky around him.

"- Here, since I'm done here I'll take you to the servant's living quarters- And because I'm so kind I'll make sure that wound is safely secured and cleaned, so here- Come along now."

And as he stood up he offered you his hand so you could get up yourself, but you don't have enough energy to walk yourself to your room, thankfully you're already ready to go to bed and wish to never wake up again.

And as the nightmare never ends, he decides that if you are going to be difficult then you leave him no choice but to carry you there. How much has he taken from you?? Jesus, he should learn some self-control before doing this again- The absolute brute that he is.

Your vision may be a little screwed over because of the lack of red cells running through your body at the moment- But you have a weird feeling that you two aren't heading towards the servant's living quarters, as you feel like you two are quite literally going in the opposite direction.

Oh but it's fine- Right?

It'll be fine. Surely. After all, he already took what he wanted from you, and he doesn't seem to need more so- You probably won't have to worry about anything right now, dinner time is already over, you can finally relax now….

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

So I'm sick again- Sorry y'all, I just have a horrible immune system and I really don't understand what is wrong with me-

I'm sorry if you didn't like this boo :(

[moonagedaydreamohyeah]

One other thing that’s really problematic about Steve’s ending in Avwngers: Endgame, I think, is what it says about dealing with trauma.

I’ll explain. So, along with Bucky clearly being main part of Steve’s storyline, I also feel like the main theme in Steve’s story is dealing with and overcoming trauma. The trauma of loss, PTSD, and of having to find his place in the world after coming out of the ice. 

A few examples of that being made more or less explicit are these:

Here we see Steve struggling to find himself and find people who get what he’s been through.

In the conversation between Steve and Sam at the VA, Sam is showing Steve that he’s not alone, that there are people who relate. Now, obviously noone else has had the experience of being frozen for 70 years only to wake up in a different time. But at the core, Steve’s trauma consists of human experiences that are not at all uncommon: Loss, guilt, and trouble finding oneself after coming back from a traumatic experience. 

Sam does this the first time they meet as well, when he asks Steve if “it’s his bed that’s too soft”, showing him that he relates to what he’s going though, and making him aware that what he is experiencing is not an uncommon thing to struggle with as a war veteran.

At the VA, he tells him about loosing his “wingman” and not being able to save him, which almost relates 1:1 to the story of Steve losing Bucky in CA: TFA.

Important note: This not only makes Steve realize that there are people that relate to his trauma, it also Steve’s trauma relatable to the viewers- Which in my opinion,gives the creators a responsibility to treat that part of his storyline properly and delicately - which I actually think that they do to some degree, up until Endgame.

When Steve visits Peggy, she encourages him to start over, and move forward. What I think she is saying here isn’s that we shouldn’t grieve, but rather that in dealing with trauma, we have to accept that we can’t go back. The trauma won’t magically go away, because it has happened. And trying our best to move forward is the best that we can do.

The way I read it,  what she is also doing, is that she’s saying goodbye, and telling him not to linger, but to move on, and live, ensuring him that she has already done so.

This again at it’s core, is something a lot of us can relate to - grieving for a lost love. And Peggy says it beautifully - “the best we can do is start over” - it won’t make you happy, expecting that in a couple of years you’ll find some stone that’ll magically take you back in time to that first love that you thought was going to last forever... oh...

Okay, moving on:

So the thing is, that I think Steve does move on, to some extend. In the CA: TWS we see Steve establishing relationships based on deeper connections and shared experiences with both Natasha

As well as with Sam (see/read above) ⬆

Another important example is when Steve and Sam first meet and Sam asks how it is for Steve to have woken up in the future.

In his answer, Steve is focusing on the positive sides to being in the future, which can be read as Steve healthily dealing with his situation, but it also depicts the nuances of trauma.

What I mean by that, relates back to what Peggy was saying: “We can’t go back”. Our trauma won’t magically dissappear, and then everything is all good. In order to move on, we have to accept that we will be carrying some of that baggage with us. 

But that doesn’t mean that we can’t move on, that it will always be all bad. In this clip, Steve we’re right at the start of CA: TWS, and this is Steve’s first time meeting Sam, before knowing that Bucky is alive, and before having made any friends in the future. And what he’s saying is “Yeah, I miss my old life, I’ve been through something traumatic, but nothing is black and white, and I can appreciate the things that I have now”.

In CA: CW and the later Avengers movies, Steve’s continues developing new friendships, establishes somewhat of a life, and makes meaningful decisions for himself, based on his own ideals. He gets to grieve for Peggy, and even tries dating. (The whole Steve/Shannon debacle and the way she was treated, is a discussion for a whoole ‘nother day btw).

The fact that Steve gets to have Bucky back is of course already streching it in terms of realistic reprensentation of trauma. But I think that can be allowed, given that avenging Bucky and finding a tie between his old self, somebody who knew him all along, and now, makes up a complete storyline, that, aside from working really well, also tells a beautiful story about friendship.

(I mean the whole “one soulmate presumably dies, the other wakes up 70 years later, alone and feeling guilty, and it turns out his soulmate is actually alive, having been made a dangerous asset controlled by the enemy?? *cheff kiss* who comes up with that shit - okay, I might be little bit biased in this) :):):)

- Back to the point!

So, to sum up: 

Steve starts off feeling completely alone because of the unique nature of of his trauma, and realizes that at the core of it, there are people who can actually relate to what he is going through (the grief of a lost love, the loss of a friend and the guilt of not being able to save them, struggling with finding yourself as well as your place in the world, in the aftermath of a traumatic experience).

He moves on and begins letting people in, letting himself grieve and establishes new ties that bind him to his surroundings, when he finds out that there is no going back, only forward, and he is in fact not alone with his experience og trauma.

Now, Idk about those of you guys that have had to go through either one of the above or other types of trauma, but to me, this process doesn’t sound unfamiliar. 

I think that a lot of the reason why so many of us fell in love with Cap’s story, with the relationship between Steve and Bucky, Sam and Natasha, and the reason why these relationships are so inspired and well-written and exciting to examine in fandom content, is because this is a beautiful story about overcoming trauma in a nuanced and realistic way, of finding out that you’re not alone, and of using that knowledge to move forward. 

When Steve finally gets Bucky back, everything isn’t back to normal or okay. They both have still lost, both others and parts of themselves, and they still have to process a lot of trauma, and find their place in a new time. 

But that’s okay, because overcoming trauma is possible, even if it doesn’t magically go away. And it will be okay, because they have someone by their side who can get what they’re going through. 

And I think a lot of us relate to that. And I also think that that’s a really important representation of trauma and of friendship and love (be it platonic or otherwise) between men, within a far-reaching franchise such as the MCU.

But oh no, MCU just had to get in a frantic Gay Panic over the fact that people fell for these beautiful dynamics and were inspired to create stories and art examining that, to more explicitely fit the reprensentation that they need, that they threw all of out the window, just to go out of their way in both Infinity War and Endgame, to ensure that there could be interpreted exactly zero Gayness between Steve and Bucky, and not even the smallest possibility of Steve not being 100% straight would be left open,

Leading to an ending that is the exact opposite of a healthy narrative when it comes to dealing with trauma:

- Little guy gets the buff body and the Girl, and then all the bad was gone and everything was perfect - 

While completely ignoring the fact that he’s leaving his life and his friends behind, to go to a place where he knows nobody and his best friend is actively being tortured, and Steve will have to not be noticed in the past, probably leading to a very isolated life.

And thus, MCU managed to fuck up when it comes to appreciating their LGBTQ+ audience, representing healthy depictions of coping with trauma, as well as male friendship and non-toxic masculinity.

Only for this short clip, that would leave us all very dissapointed and confused:

Way to go. 

Thanks for reading, if you made it this far:)

[firelxdykatara]

gods, ok, apparently i’m not done.

atla fandom? we need to have a chat.

(....ok that made me sound pretentious as fuck. and maybe i am, but this needs to be said, cause i’m getting....real, real tired of a Certain Corner of this fandom and as a result, this is gonna be a discourse-heavy post so feel free to scroll past if that’s not your bag. as always, my salt posts all carry the catch-all #salt for ts tag, which you’re free to blacklist/filter at your leisure. i’m Very Annoyed at the moment, which will probably come through in the following post, so just. yknow. be prepared for that. or ignore it, that’s perfectly valid too.)

under a cut bc i do care for my followers and their sanity i swear lmao

there’s a real serious issue in this fandom with not understanding what queer terminology actually means or implies, especially when applied to a fictional narrative.

i’m specifically talking about ‘coding’, here. (if i were in a more meme-y mood, i might have said ‘the atla fandom found out about the term “gay-coding” and haven’t shut up since’.)

to the people who say ‘zuko is gay-coded’, i have this to say: you keep using that word. i do not think it means what you think it means. because he isn’t. i’m sorry, but he’s not! and the fact that this is such a prevalent claim in this fandom is distressing, bc it says to me that none of y’all know what gay-coding is or when and how to apply it! please, i’m begging you, go and look up these terms and what they mean and when they should be used before actually trying to plug them into your critical analysis, because when you misuse them and then call other people delusional for disagreeing with you it casts a pall over the entire fandom and is, i think, the root of some of the worst toxicity this fandom has to offer.

and the thing is, there are cases where gay-coding would apply--for instance, a couple series that are famous for queerbaiting their audience by coding their main characters as being attracted to one another (sometimes even despite their openly stated sexualities) come to mind, but those shows bare no similarities at all to atla and how zuko was written and portrayed! (and it would be funny, if it weren’t so obnoxious and infuriatingly wide-spread throughout the fandom, because the only queer couple we actually seen on-screen in either show wasn’t even queer-coded in any respect, and they’re canonically bi! [yes, i’m shading korrasami, or more accurately i’m shading bryke for refusing to give ka the build-up and development they deserved].)

this absolutely isn’t to say that headcanoning zuko as gay is a bad thing or invalid in any respect. (although the tendency for zukka shippers to do this specifically to keep zuko away from katara and/or invalidate his canon relationship/attraction to girls is more than a little eyebrow raising. especially since sokka is usually allowed to be bi, bc fans have no problem letting sukka stay in the background bc it’s no real threat, while jetko shippers are happy to have both boys be bi. [possibly bc katara is less a threat to jetko bc jetkotara is every bit as valid as any single ship between the three, but zukka can’t exactly let katara join in, and if the potential exists for zuko to be attracted to her then canon giving them the far deeper emotional bond becomes a threat to zukka’s existence? idk for sure--you be the judge.]) i prefer to hc zuko as bi (and always have, long before the atla renaissance), bc i don’t think zuko being attracted to boys is outside the realm of possibility, and it isn’t a threat to my ship since zuko&katara had a deep and emotional bond in canon that is very easy to develop further into something that becomes explicitly romantic--but the headcanon itself isn’t really the problem (although what it’s often in service to can be).

it’s the strange insistence that this is the only way to read his character, bc he was coded that way and so anyone who doesn’t see it must be too straight to understand--and i really shouldn’t have to say why and how that is so incredibly fucking insulting. (the ‘hetero lenses’ comment wasn’t cute when it came from bryke six years ago, and the same sentiment being repackaged and delivered by zukka shippers ain’t cute now.)

calling zuko gay-coded not only demonstrates ignorance as to what the term actually means, and how to usefully apply it in critical analysis, but also validates the frankly bullshit insertion of institutionalized homophobia in the world of atla where it was neither needed, nor wanted, nor ever hinted at in canon. as a queer woman i’m still infuriated by one fucking comic panel shoving institutionalized and systemic homophobia into a world where it was entirely unnecessary (and doing this in the first installment of the franchise showcasing a queer relationship??? making korra and asami worried about ‘coming out’ when they could have just gone on to have cute adventures together and tell people ‘hey we’re dating’ and have everyone else be ‘that’s awesome =DDD’ [because it is, in fact, possible to just have a world without homophobia i promise!!!!!] double yikes, i’m still pissed at bryke about it), and i doubly hate that ‘zuko is gay coded’ has become so widespread that ‘ozai hates him bc he’s gay’ has become a staple in that part of the fandom.

not only does making zuko gay and implying (or outright stating) that ozai hated and abused him because of it completely undermine zuko’s character arc by making his abuse about his sexuality rather than ozai’s toxic pride and anger at seeing himself reflected in his ‘weak’ son, but it comes very close to outright stating that abuse and trauma are inherently gay experiences, and they aren’t!!! they really aren’t, i promise!!!

abuse and trauma narratives exist outside of ‘my dad hates me because i’m gay’. and, quite frankly, there are MORE THAN ENOUGH queer trauma narratives out in the world. we do not need to start trying to retroactively make them canon in a series where they didn’t exist! if you’re gay and see yourself in zuko and project your own experiences on him, that’s understandable and valid. that does not make zuko gay-coded. and honestly, the insistence that he is makes very little sense to me, because you’re essentially trying to give the show credit for work you put into interpreting the characters! why would you want to do that? why not own your own headcanons and take credit for them, rather than insisting they are canon and everyone else is wrong for not seeing them??? like, i’ve said before that i’ve always headcanoned zuko (and katara) as bi, and even support it with my interpretations of evidence from the show, but the difference between ‘i think zuko is bi’ and ‘zuko is definitely gay-coded’ is that i know that bi zuko is my interpretation of canon, and that it is work i’m putting into the show that wasn’t actually intended by the creators/writers, no matter how much sexual tension i read into the jetko swordfight.

and like, zuko’s character arc doesn’t actually parallel a queer one all that well to begin with. it’s easy enough to do the work and twist it sideways just enough to make the general points fit, but the fact is, zuko’s arc is not one of self-discovery. it’s not one of coming to understand something fundamental about himself that he can’t change, that he was hated for, and coming out to his father in a dramatic confrontation where he shows that he understands himself and doesn’t need his father’s acceptance to be fulfilled.

zuko’s arc is actually one of trauma and healing. and those can (and often are--like i said, there are more than enough queer trauma narratives in the world, atla really doesn’t need to be one of them) be part of queer narratives, for sure! but they aren’t uniquely queer. and zuko’s confrontation with ozai during the eclipse doesn’t read like a ‘coming out’ at all. (yes, i’ve seen that post. yes, i rolled my eyes and moved on, bc unlike some people, i’m capable of not clowning on correctly tagged posts i disagree with.) zuko is specifically confronting ozai over his abuse, because his arc wasn’t about discovering anything fundamental about himself (and therefore realizing that ozai was hating him for something he couldn’t change)--it was about realizing that he was not at fault for the way his father treated him. it was also about realizing that the fire nation was broken and corrupt at its core, and that his father was an aspect of that he needed to break away from so that he could help the world begin to heal.

he says it himself:

Zuko: No, I've learned everything! And I've had to learn it on my own! Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was. The people of the world are terrified by the Fire Nation. They don't see our greatness. They hate us! And we deserve it! We've created an era of fear in the world. And if we don't want the world to destroy itself, we need to replace it with an era of peace and kindness.

making this about zuko being gay and rejecting ozai’s homophobia, rather than zuko learning fundamental truths about the world and about his home and about how there was something deeply wrong with his nation that needed to be fixed in order for the world to heal (and, no, ‘homophobia’ is not the answer to ‘what is wrong with the fire nation’, i’m still fucking pissed at bryke about that), misses the entire point of his character arc. this is the culmination of zuko realizing that he should never have had to earn his father’s love, because that should have been unconditional from the start. this is zuko realizing that he was not at fault for his father’s abuse--that speaking out of turn in a war meeting in no way justified fighting a duel with a child.

is that first realization (that a parent’s love should be unconditional, and if it isn’t, then that is the parent’s fault and not the child’s) something that queer kids in homophobic households/families can relate to? of course it is. but it’s also something that every other abused kid, straight kids and even queer kids who were abused for other reasons before they even knew they were anything other than cishet, can relate to as well. in that respect, it is not a uniquely queer experience, nor is it a uniquely queer story, and zuko not being attracted to girls (which is what a lot of it seems to boil down to, at the end of the day--cutting down zuko’s potential ships so that only zukka and a few far more niche ships are left standing) is not necessary to his character arc. nor does it particularly make sense.

(and before anyone brings up his date with jin--a) he enjoyed it when she kissed him, and b) he was a traumatized, abused child going out on a first date. of course he was fucking awkward. have you ever met a teenage boy????)

anyway, uh, that was a lot of words, so have a tl;dr: zuko is not gay-coded. there is nothing uniquely gay (or even uniquely queer) about his character arc or characterization, and he was certainly not coded gay in an attempt to sneak a queer character past the censors. if anyone involved with atla was gonna try that, it would’ve been in lok, and as established, they didn’t even manage to queer-code the actual queer relationship before the last few minutes of the final episode. headcanoning zuko as gay is absolutely fine (though if it’s only done to keep him away from female characters he may otherwise be attracted to, that smells more like misogyny than anything else), but insisting that this reading is the only one that makes sense, and anyone who doesn’t agree must be straight (hello, queer woman here making this insanely long thinkpiece) is very much not.

ship what you like, but stop trying to invalidate other ships and other interpretations of characters just to make your ship seem more plausible. it’s really not a good look.

[pokelec]

A Dead By Daylight Novice Reviews All the Killers' Trailers (and makes suggestions for what they'd change)

Reveal trailers are paramount for an audience's first look at new characters. First impressions are everything, so your trailer for your shiny new character needs to be perfect for what's in store for the video game! I started playing DBD a month-ish ago but watched all the trailers for the killers before I started playing, and watching some of them got me to thinking about how I would have changes some of the trailers. Some require no changes, while others I think need an overhaul.

Disclaimer: This is in my personal opinion, is not objective at all, and I'm only doing this because this is something I've been thinking about for a month and need some sort of release or else my brain will implode.

Under a read more bc this gets long.

The Trapper - The first trailer! For a first trailer, I think this one is pretty spot on. It follows a lot of beats of slasher movies, in terms of following a survivor that's gonna be killed, her encountering dead bodies, and the suspense of the killer looking for her. Considering Dead by Daylight is effectively a playable horror movie, I think this is a perfect intro to the game. As for what this means for the Trapper, aka our Jason substitute, I think it showed him off alright! We saw his bear traps and got a good look at him doing this thing. Pretty good, all things considered!

The Wraith - The Wraith, Hillbilly, and Nurse all features gameplay as the means of showing off what the killers can do. The Wraith's isn't too bad, since it does show off his Wailing Bell power enough for people to understand "This is a killer that can turn invisible, and you may not know he's right next to you until it's too late". I wish it has a more cinematic style, but I'll be forgiving here because DBD was still young when this was made. I also thing it showed the new map, Autohaven, pretty well. I'm not too big of a fan of ending the trailer with his mori, but that could be because I don't find his mori exciting.

The Hillbilly - Next is our Leatherface expy! This one feels shorter, still using gameplay to introduce our new killer but at least shows off his chainsaw wielding and hints at the map associated with him. I like the shot of him revving his chainsaw underneath the tree with the animal carcasses! I don't mind the ending with his mori here because even if it's off screen, getting cut with a chainsaw is brutal enough to leave a lasting impression. Again, I wish it had the cinematic style, but it's fine.

The Nurse - I think the Nurse's trailer is the weakest of the three gameplay-focused trailers. The text intro is... fine, but I honestly think it fits the Doctor more. It does an okay job of showing us her Blinking mechanics, but it also doesn't? Like we see her teleporting to Nea, but it feels lackluster. I do like the ending shot of dead Nea as the Nurse just blinks away. I'm not quite sure how to change this trailer to be more effective in my opinion, if I'm being honest.

The Shape/Michael Myers - Our first franchise killer, and a perfect trailer. The first second in, we hear John Carpenter's legendary Halloween score. Even non-horror fans will quickly pick up which killer this is. The suspense of Laurie see Michael, Michael coming up the stairs, and especially the shot of Laurie and Michael being on opposite sides of a door is *chef's kiss*. We see enough of the Shape to be satisfied and eager for his release. It's the perfect trailer for him AND Laurie imo.

The Huntress - Ah, the Huntress. She is my favorite killer to play as, and I probably have the majority of my playtime on her. Unfortunately, I think her trailer leaves a lot to be desired. It's the start of the 'let's look at the killer from different angles, have them turn around to the camera, and then attack the viewer' trend of DBD trailers. I call for a complete rewrite! Here's what I would have done:

The map is Mother's Dwelling. Two survivors (David aaaand idk Dwight?) are running and hides behind some trees. We hear the Huntress's lullaby get louder, and we see the bottom half of her and her axe as she walks past the survivors. The lullaby gets quieter, and the survivors take a sigh of relief. Then, a hatchet is thrown and lodged into Dwight's head! David screams and runs. We then see our full look at the Huntress as she picks up the body. Her signature lullaby continues as the trailer ends.

The Hag - The Hag's trailer also follows a similar formula to the Huntress' trailer. There is an animation bump, so we get to see the Hag's emaciated appearance in full detail. I'm not too mad about that, since the Hag's appearance is unsettling enough to cause viewer distress and curiosity more than the Huntress' would. However, because this is a DBD original killer, we need to see what her deal is with her trailer. Thus, I propose this:

On the swamp, Ace is repairing a generator but hears another survivor (Dwight?) get hooked. Ace goes to rescue him, but we see as he steps on a rune in front of the poor survivor. The illusion of the Hag pops up, jumpscaring poor Ace (and the audience) but disappears. Ace then rescues Dwight for real, but Dwight quickly runs away. Why? Because the real Hag is behind Ace and lunges at him, biting his neck. Trailer ends.

The Doctor - I now realize that my taste in writing DBD trailers is 'have the survivor do a thing, they think the killer is near, they then relax, and only then are they attacked by the killer'. It's a bit stereotypical, but again, we're dealing with a game centered on the horror genre, so that's why I'm okay with it.

I mention this because that's effectively the story beats the the Doctor's trailer follows. Instead of attacking Feng, however, the Doctor just looks at her run and stares menacingly. Even though we don't see the Doctor's shock therapy powers here, I think the long look at the killer is still effective because of his design. A first reaction I (and other reactors) experienced went from the initial "OMG the killer is here, run girl!" to "Why tf are his own eyes and mouth held open like that A Clockwork Orange scene?!". We also don't linger for too long on him either, so I think this trailer works well enough.

The Cannibal/Leatherface - Another franchise killer, this time good ol Leatherface! This trailer is a little different, using text to draw up suspense. I do like the reveal of "What is his mask made of? YOU.", but I would've loved to have seen some actual Cannibal action, or at least his in-game model doing his Texas chainsaw massacring thing.

The Nightmare/Freddy Kruger - Oh, c'mon, we got one of the most well known characters in horror in this little video game, and all we get for his trailer is some scratch marks and a 'killer does nothing but stand there menacingly and attack the camera' trailer?! I do like the detail that when we see him, it's DBD's version of the dream world, but we could've at least featured a survivor falling asleep and then seeing him for themselves.

(Also kinda sad it's the reboot version of Freddy instead of the Wes Craven version and the survivor is Quentin instead of Nancy Freaking Thompson, but I guess we should be happy he's in the game at all)

The Pig - Largely, I think this trailer is pretty good. I'm not too big of a fan of Amanda just standing there menacingly near Dwight, but I do like everything else. I especially love the security camera shot of the famous Saw bathroom and the cutaway when Dwight's reverse bear trap activates (but we still see a good bit of gore!). It feels very Saw-like.

The Clown - This trailer is pretty good! Even though we don't see the Clown in much action, we get a lot of visual storytelling with the bottles, the circus, and the ring of fingers, all leading up to the reveal of his face. The diagetic music from Kate is a nice touch, too.

The Spirit - This one is alright. There is a lot of focus on Adam, but it does build up tension to when the Spirit reveals herself. My biggest problem with it is the ending card that is used for her. Yes, I know that's traditional for the end of these trailers, but her pose and expression is kinda meh after the face she makes when she's about to attack Adam. Seriously, that couple of seconds haunts me (sorry) otherwise.

The Legion - My other favorite killer to play! It's so funny how I didn't like Legion when I first heard of them but now they're my favorites. I love how the trailer emphasizes that the new killer(s) looks similar to survivors and the brutality of when Frank reveals himself and stabs Jeff. However, the trailer does a disservice to the other members of the Legion. C'mon, that's their whole shtick!

My recommendation would be to end with a shot of Julie, Joey, and Suzie joining Frank (and obviously getting a good look at them) and surrounding Jeff right before they all stab him. This is a little disingenuous since you can't play as all four of them at once (unless you count that one Blighted skin...), but you also can't disguise yourself as a survivor, so... Yeah. They are The Legion! They act as one! Treat them as such in their trailer, dammit!

The Plague - The Plague's trailer is interesting. Even though we don't see her in action, I think it's fine because seeing her puke on people during her trailer might be a bit off-putting. Just a bit. We still get some storytelling with her whispered prayers, the candles and incense thingy, and, of course, her face. I think because the Plague's design is inherently unique among all the killers so far, she can get away with the 'let's just tease the audience by looking at the killer and nothing else' trend.

The Ghost Face - Not too much I can complain about with this one. I do like the wtf factor of 'wait, why is a DBD trailer at a modern day warehouse???', especially if you're watching a trailer playlist like I first did. It all makes sense when you learn it's Ghost Face, though! Also, justice for that poor cashier.

The Demogorgon - RIP Stranger Things DLC. I don't watch this series, but I really like the Hawkins Lab map and I'm going to be sad when it's gone. :(

I love this trailer! When I hear the Stranger Things music, it actually gives me chills. I'm legitimately so sad the DLC will be gone from the stores, but I do own them myself. I need to actually sit down and play Demo, Steve, and Nancy one of these days. Why am I crying? No, I'm not kidding, why is this trailer making me cry? Renew the contract, Netflix, please! I don't want this stuff to disappear forever!

(Is it weird that I've been nagged on for years to watch Stranger Things but it's Dead By Daylight that's actually convincing me to watch it?)

The Oni - This is an interesting case. The "main" theme of this trailer is the contrast of modern day Japan's Yui and her motorcycle vs the literal ancient samurai Oni. I think it works out, and again, I think the presentation makes up for us not seeing too much of the new killer.

The Deathslinger - Oh boy, do I love my cowboys! This trailer is nearly perfect. We establish the western setting quickly over the sounds of some poor bastard in pain. The reeling in of the chains and the closeup of The Redeemer is so great. My biggest complaint with this trailer is that we linger a bit too long on the Deathslinger's face at the end. Yeah, he's creepy with his eyes and his disjointed jaw, but you can only look at a horror for so long before you want to move on.

The Executioner/Pyramid Head - I like this trailer! I haven't played Silent Hills, but I'm at least somewhat familiar with the premise and Pyramid Head. I love the shot of him passing the classroom door window and the sword cutting a rift through the ground. Yeah, my lack of SH knowledge makes me unable to recommend any changes here.

The Blight - I have no changes to suggest. The Blight's transformation is super horrific, reminding me of the typical depiction of Jekyll and Hyde. Honestly, he is so much more terrifying in his trailer and in lore than in gameplay.

The Twins - No changes needed. BHVR is really starting to hit their stride with these trailers! Seeing Victor come out of Charlotte's body is amazing.

The Trickster - We depart from all of the other trailers by using an K-POP music video style. It does a good job at referencing some of his story beats (namely torturing/killing people, recording their screams, and using them in his music), but it doesn't really make me afraid of the Trickster. Sure, it fits with his theme, but I would have preferred seeing more of him, y'know, instead of just looking pretty and making faces? I still wouldn't change the art style of the trailer, though. It's fitting enough for him and a breath of fresh air from the doom and gloom.

The Nemesis - No change needed, mostly because I'm not too familiar with the Resident Evil series, but seeing Jill, the twink Leon, and Nemesis on-screen is a very cool moment. Also can we get an F in chat for Meg?

The Cenobite/Pinhead - This is a perfect trailer. We got the Lament Configuration, we got the chains pinning up Dwight, we got Pinhead himself! What more can I ask for?

If you actually made it this far, thank for reading? I don't think I really contribute anything to the fandom with this analysis, but DBD has been living rent free in my brain for the past month, so I may as well write something, eh?

[the-lightning-strikes-again]

A Review of Voltron DDP Comic: A Legend Forged (2008)

I knew the old Devil’s Due Publishing (DDP) comics for Voltron were lit…but the sequel, A Legend Forged, really resonated with me! This 5-issue comic series is DDP’s interpretation of the history behind the Voltron robot itself, and it wraps this lore within an adventure plot featuring our main pilots (Allura, Keith, Hunk, Lance, Pidge) in an alliance with Lotor.

I’ve meant to write a review about A Legend Forged for a while because I know that older Voltron comics aren’t always accessible. I think this one deserves some attention because it does things that I find just really refreshing after watching the 2016 Legendary Defender show. It also has some fun details that could have been source material for the world building and events in the 2016 VLD show. 

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The basic summary of this comic is that Team Voltron and Lotor are accidentally transported 1,200 years in the past after some classified time travel tech destabilizes in the middle of a fight. Powerless from the blast, they crash-land on a nearby planet, and they’re soon captured by people on the planet who have exceptionally advanced technology. Lotor agrees to a truce with Team Voltron to help find a way out of their prison, and back to their own time.

In arriving through the wormhole, however, they catch the attention of a very powerful group who are missing an important piece to complete their special defense project (the Voltron robot). The robot is being built in part by King Altarus, Allura’s ancestor, to fight off the villain in that ancient past—Empress Jain IX, Lotor’s evil great great (10X) grandmother, who is a sorceress hellbent on intergalactic domination.

Ultimately, Team Voltron and Lotor get caught up in the efforts to stop Empress Jain and assist King Altarus’s Council…and they discover some interesting things about themselves and about Voltron along the way!

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I found A Legend Forged to be one entertaining, snarky shenanigan after another. Although it does source the 1984 character designs and backgrounds along with some references to Vehicle Voltron (which may be alienating to fans familiar only with VLD), I love that this comic deeply and openly explores what makes the Voltron franchise so identifiable and unique—its Arthurian legends/magic in the midst of an expansive space opera.

The comic is meant for slightly older audiences compared to VLD—it includes several instances of adult cursing, frightening images, some brief images of romance/non-graphic sensuality, and occasional graphic violence showing blood. I couldn’t find a publisher-recommended age for this comic on the book covers, but I think it might be T for ages 12 and older.

If you’re interested, a deeper overview of A Legend Forged is included under the cut!

___

At a high level, there’s certain things that just really attracted me to this comic, even though I’m usually not much of a comic reader:

THE WORLD BUILDING

The whole timeline distortion that takes them back 1,200 years is a direct consequence of humans attempting to back-engineer the mysterious Voltron robot. Within that back-engineering, they’d stumbled into creating a time machine:

(Photo Description: The city of Toronto in the future. Someone asks, “Time travel?” Coran replies, “Devised using reverse engineered technology from Lion Voltron, no doubt.” An alliance official responds, “Come on now, how would that be possible?” A second official responses, “Coran’s right. The way that Lion Voltron summons energy and weaponry is a mystery. We learned how to mimic the ability with the vehicle units, without really understanding it.”)

So there’s a lot of undertow here about just what exactly all these different parties (Earth/Galaxy Alliance, space pirates, Lotor) were planning to do with a time machine to begin with before it gets blown up in a battle over it. But there’s also something interesting happening here involving Fate/Destiny and plasticity of time itself.

At the very heart of this comic is the concept that the Voltron robot could not have been completed 1,200 years ago if Team Voltron and Lotor were not accidentally tossed back in time to help complete the project. And idk, I think that’s just pretty cool. It ties these lives of these characters together in a way that I don’t think I’ve seen in any other Voltron iteration—that they were meant to pilot Voltron, because their presence helped to unlock the final missing piece to bring it to life.  

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In addition, we get a really interesting look into the ancient past of the Voltron universe, back to the beginning of the first space empire. The comic’s big bad, Empress Jain IX, is an incredibly powerful and heartless sorceress of Drule heritage, from the planet Doon:

(Photo description: Empress Jain standing before the leader of a world she’s conquered, declaring, “And thus, the mighty fall! The powerful kneel at my feet! Behold the grandeur of your empress, and witness what happens to those who stand in her way!”)

But there’s always been this larger question in the Voltron franchise around King Zarkon’s unique, fish-like features compared to other Drule characters like Jain, and this comic answers that.

This is what the OG Zarkon looked like:

Compared to the ancient people of Korrinoth, who have similar ears and coloring as he does:

(Description: Keith says to the team, “I think we may be witnessing the beginning of King Zarkon’s people’s assimilation into the Drule Empire.”)

The planet that our protagonists crash-land on 1,200 years in the past is called Korrinoth. The people here had been recently conquered by Jain and share many similarities with the visual features of Zarkon. So this comic establishes that Zarkon has both Drule and Korrinite heritage. Unfortunately for Lotor, the Korrinites of the planet don’t acknowledge his Korrinite blood because he looks too Drule in comparison. So this comic reaches back on the hints that Lotor struggles to fit in with his own people…and it helps to explain why he’s captured along with Team Voltron:

(Photo description: Team Voltron and Lotor stand together, having been captured in a purple energy field functioning like jail bars.)

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There’s also the concept that Voltron—just like the surrounding environment in Voltron franchise—is an amalgamation of science and magic. The comic’s big bad, Empress Jain, had discovered that her own dark sorcery arts could be challenged by the “lion gods,” who were demanding an increasing price be paid for her horrific conquering. In order to negate the lion gods’ power, Jain explicitly banned religious worship around them and any lion god iconography from her empire.

(Photo description: The dark entity Sarga says, “It is coming, and soon, that which may be your downfall. A twisted abomination of science and technology. The might of the Lion-Gods with the heart and mind of Man.” Jain says, “But I have banned worship of the Lions through the empire.”)

So the Voltron builders were reaching back to a very ancient, lost power that they were risking their lives to resurrect. The connection to a pantheon of lion gods helps to provide some logic around why the Voltron robot itself splits into lions—because it’s literally the symbol of these lost gods.

The visual design of Voltron is also reflected in the armor worn specifically by warriors fighting in the name of these banned gods:

(Photo description: A humanoid warrior wearing Voltron-based armor, coming to Team Voltron’s rescue at the command of the Council.)

So Voltron as a machine metaphorically stands as the Ultimate Warrior in humanoid form, supported by the individual lion gods.

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Within the comic, it hints at some pretty intense religious discrimination—that Empress Jain was willing to arrest and torment even her own daughter, Azakhi for becoming a Lion Priestess:

(Photo description: Jain’s daughter, Azahki, is revealed to be a dirtied prisoner captured by Jain’s forces. She tells Team Voltron, “Do not fear my Drule appearance. I am a devout follower of your ways.”)

This background battle supports why Team Voltron and Lotor are instantly targeted by Jain’s forces when they crash-land on Korrinoth, bearing the banner of the lion gods in the form of Voltron.

Later on in the comic, we also see that the colors themselves represented the various domains of these lion gods:

(Photo description: An image of Voltron as it’s being built, with King Altarus narrating in the background, ““Yellow for win, red for fire, green for earth, blue for water, and at the center…the might blackness of space which houses all of reality.”)

So we really see Voltron pick up a lot more backstory to explain the robot itself. 

--

We do get a deeper look as well into King Altarus and his Council.

King Altarus, Princess Allura’s ancestor, is the leader of the group. But the work involved in building Voltron doesn’t just rest with him like it did with Alfor in VLD. His council is just as equally if not more powerful than him in other ways.

In this panel, King Altarus introduces his four other team members as the most powerful scientists or sorcerers of their respective planet:

(Photo description: An introduction of the five council members of Altarus: “Cybrus hails from a world of sentient machines…More than a computer, he is also sorcerer to rival any other. The striking beauty to my right is Heket. Born of a nomadic race who travels the galaxy bestowing gifts of knowledge to primitive worlds. She is also the most brilliant scientist of her people. Phelos is a brilliant sci-mage from the neighboring solar system. If you are truly who you say, you may already know legends of our final ally. From a primitive world, but master of the most advance wizardry in the galazy: Merlin.”)

The combination of Altarus, Cybrus, Heket, Phelos, and Merlin all echo the 2016 Legendary Defender’s backstory—in which leaders of various people united together for the greater good of their galaxy. Once again, we have five unique planets represented in the Voltron effort—but in this case, it even includes Earth. This helps to explain part of why Voltron’s original design had very medieval attributes.

Maybe some would think it’s a bit hokey that the OG builders included the actual Arthurian figure of Merlin, the wizard? Idk, I think it’s kind of a fun way to connect Voltron’s ancient, magical past to Earth as well, and it suggests that Merlin was preparing or called by the others to help prepare for a future of advanced warfare. I’ve always wondered why the OG Voltron looked so medieval with the crests and the swords and such—and actually, it being built in part by a medieval human wizard would help to explain that!

--

We also see in the DDP comics a very heavy evolution to Allura’s character and to the world building within the Voltron franchise itself. She’s no longer just a princess who knows how to fight—she’s actively a Clairvoyant, with untapped power. King Altarus acknowledges, and the other Council members sense it, that Princess Allura has way more internal magic than she even knows about herself:

(Photo description: Council member Heket says to King Altarus, “I have a feeling about the girl [Allura]. Her aura is oddly similar to your own.”)

We also see that the dark entity Sarga recognizes this in her as well:

(Photo description: The dark entity Sarga says to Empress Jain, “The visitors…they each have a link to this monstrosity. However, the blood of only one of them pulses with the  magic of Arus. The one called Allura! She is the one! She must be—” Jain cuts in, “The host!” And Sarga confirms, “Yes, with Princess Allura, Sarga will live in this realm once more. With her, we can control Voltron.”)

I feel like this magic probably helped to set the tone for the Princess Allura we meet in the 2016 Legendary Defender reboot, who ultimately got the opportunity to grow into the powers that are hinted at here in this previous iteration.

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I do also like this comic because the protagonists (with the exception of Pidge who is 16) are adults, and they’re a little more mature in their decisions and interests.

Like, for example, the Lance in this comic has a much more extensive sensitivity to and interest in culture. Instead of it being Hunk bonding with aliens through food, we see Lance as the diplomat, bonding with Jain’s daughter Azahki, just by asking her questions:

(Photo description: Lance and Jain’s daughter, Azahki, sitting at a table and eating. Lance says, “That hit the sport. I was frickin’ starving.” Azahki says, “After being held prisoner for so long, I had forgotten what real food tastes like. So much time was wasted…so much life. Just sitting in a cell because of my beliefs. I…I’m sorry, Lance. This should be a nice evening, and I’m bringing the mood down.”)

(Photo description: Lance replies, “Actually, I’m fascinated to learn more about the followers of the Lions, and about you. Like, where you come from. You feel free to talk about whatever comes to mind.” Azahki responds then, “You’re too kind.”)

I think along with this, we see a more nuanced view into the Drule themselves. Azahki, as both a Drule and as Empress Jain’s daughter, has turned away from the evil deeds of the empire and has suffered dearly for trying to do the right thing. This falls in line with DDP’s dedication in the worldbuilding to show that not all Drule are bad.

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We also see some very interesting, Honervian backstory relating to Empress Jain’s dark powers. Like VLD Honerva, Jain is in part backed by an ancient spirit/power she likes to “talk” to. She calls on it as the “Mother of Power.” This creepy creature is named Sarga in the comics:

(Photo description: Jain summons Sarga: “Mother of Power, Great Spirit, I summon thee.” The dark entity Sarga manifests and says, “Yesss, sweet Jain! You know my name! Feel free to speak it. Have you found the Host?” Jain replies, “Not yet, great Sarga. But the search continues. To date, my body is the only one that could sustain you in our realm.” Sarga says, “Jain. Do not be so simple-minded. It’s only your mortal shell.” Jain retorts, “One that I rather like, thank you.”)

Sarga is pushing for Jain to give up her mortal body entirely so that Sarga can walk the mortal plane, but they don’t see eye to eye on this. Jain likes having her own body. Even so, Sarga knows that she has to protect her investment in Jain, and so she’s the one who plants a devious idea in Jain’s head—that she could potentially use the Voltron from the future to destroy the Voltron of the past, and therefore reestablish her supremacy over the lion gods and their legacy.

Tbh, I visually get a LOT of vibes from Jain relating to VLD’s Honerva character? Down to the long stringy hair and gold eyes…and she really does look like a female version of Lotor, tbh, lol.

(Photo description: Jain leaning in a circle of candles, exhausted from summoning Sarga, who has referred to Voltron. Jain murmurs to herself, “Pow..power. There is power in that name.”)

I think what I like about Jain as a big bad, though, is that she’s legit just an evil person. She doesn’t have an abuse backstory, like what so many content creators like to reference as the reason for someone going insane/evil. She’s clearly very talented and very powerful and very in control, and she’s using those abilities in all the wrong ways just because she can.

Given DDP’s contributions to the Voltron franchise with its female villains (Merla, Jain), I almost can’t believe that the 2016 VLD show didn’t carry these characters forward but instead raised up the all-new Honerva as “needed female villain rep.” But I can definitely see the echoes of Jain in the Honerva that we see throughout VLD.

I also really, really see similarities in how Jain is willing to use her own daughter, Azahki, as a pawn for her own aims. And by the end of the comic, Jain eventually accomplishes bringing Sarga into the mortal plane by sacrificing her own daughter’s body. This pretty hauntingly echoes the lack of maternal instinct seen in Honerva in VLD and Honerva’s malicious interest in and use of Lotor, even post-death in s8.

I feel like I relived Honerva’s interactions with Lotor in s8 when I saw how Jain acts with her own daughter, Azahki:

(Photo description: Azahki has been shot in the battle. Jain kneels down to her and cries, “Daughter. My only daughter.” Azahki says, “Mother...you…you’re crying? I…I’m sorry…you didn’t give me… a choice.” Jain pleads, “You can’t do this, Azahki, not now. After being gone for so long and now…” But then Jain has a complete switch of demeanor. She stands up and declares, “Now you’ve ruined everything! Everything!” Azahki, bewildered, says, “What?” And Jain yells, “I should have killed you in your crib!”)

Another association with Honerva is that Honerva/Haggar killed the original paladins. Likewise, it is Jain who takes down the Council one by one:

(Photo description: Jain breaks into the Council, hand glowing with power and fallen warriors around her, saying, “How could someone with such feeble defenses have eluded me for so long, Altarus? I give you credit for that, at least.”)

(Photo description: Jane is surrounded by the dead bodies of Merlin and Heket. She says, “Now, to finish this.”)

So I guess I’m just fascinated by Jain as a villain and find her similarities with Honerva interesting. In Jain’s case, however, there’s absolutely nothing to be sympathetic with her on, lol.

--

In terms of Lotor’s part:

I think this comic represents probably the most actively hopeful iteration of him that I’ve seen in the Voltron franchise? Like, Dynamite Comics had Lotor moving to ally with Team Voltron to bring down the rift creatures in a massive alliance, but those comics were canceled before we could see the whole story that Brandon Thomas intended. Here, we have a whole, complete story in which Lotor actively does good deeds and lives, wow.

(I didn’t think that was, like, allowed in this franchise, lol?)  

I do think it’s really interesting that here, Lotor comes face-to-face with just pure, unadulterated evil—and it scares him. Just like in VLD, this Lotor is forced to watch Jain decimate an entire planet and enslave its people. Despite being canonically “evil,” Lotor does not take this level of destruction very well:

(Photo description: Empress Jain speaking to an underling, saying, “For now, rid this planet of its luscious environment and warp home.”)

(Photo description: The planet is set ablaze by Jain’s forces. Lotor is looking on from a different ship. He is unsettled by Jain’s power and says, “My god.” His prisoner that he’s watching on Team Voltron’s request (the space pirate Captain Stride), teases, “Nothing like a little global decimation to build character, eh, Lotor?” And Lotor warns, “Stride,” with an upset look on this face.)

His motivations for helping out and connecting with both Team Voltron and King Altarus’s council do start with just wanting to save his own neck. But as the comic progresses, we see him taking larger and larger risks to help protect the team, and he responds more emotionally to the stakes being faced by other allies.  

Jain’s level of evil, and her later attempts to target Princess Allura as a host body for the dark entity Sarga, are what really push Lotor out of the antagonist/villain role into the position of antihero. And I like this exploration of him because Lotor is a really fascinating character in the franchise and usually always a wild card. Like, he has the capacity to play both sides and be unpredictable.

And it’s interesting too that this comic even opens up by acknowledging that. In the beginning, King Altarus and his council are watching Team Voltron and Lotor recalibrate from their crash-landing on Korrinoth. King Altarus notes that Lotor is evil, but that he’s capable of doing good…because of his love for Allura:

(Photo description: King Altarus judging the team: “The girl has a clairvoyance about her, but doesn’t even realize it. I sense something noble about all of them…save for the Drule who should not be trusted. Although his apparent fondness for the woman may cause him to fight his true evil nature at least for a while.”)

Later in the comic, it’s King Altarus himself who leans on Lotor when he thinks all hope is lost. And it’s Lotor who holds him up and tries to take down Jain:

(Photo description: King Altarus leans upon Lotor and mourns, “She’s…she’s done it, Lotor. She’s ruined our chances. Five generations…for nothing.” Lotor has raised a blaster and replies, “Not without going through me first.”)

So we really see this comic actively allow Lotor’s character to do things outside of the typical bounds of a villain. The very person who called him inherently evil is the one wailing to him and counting on him to save the day, lol.

We also see echoes of VLD Lotor’s pride in this comic. The DDP Lotor is also a man of mixed heritage and is very proud of who and what he is.

(Photo description: Lotor is on the battlefield, having slain an enemy who’d called them pathetic. Lotor responds, “Pathetic? My noble blood begs to differ.”)

So I liked that once again, Lotor is actually proud of who he is even though the world around him actively tries to devalue him. I think that’s been something meaningful about the Lotor character that a lot of people have connected to.

In his efforts to assist Team Voltron in reclaiming their own recharged Voltron lions (so that Jain can’t get them), Lotor is actually a very helpful ally as well, and a skilled warrior. So it was fun to see panels of Team Voltron and Lotor fighting together, side by side.

--

THE CLIMAX AND RESOLUTION

--

Ultimately, the evil Empress Jain tries to take over the Voltron from the future, in realizing that Allura has deep, spiritual connections to the machine. She agrees that this makes Allura the perfect host body for the dark entity Sarga, and as their way to control the robot. And so she enacts the rituals to possess Allura:

(Photo description: Allura’s features are mutating unnaturally as Sarga begins to posses her. In the background, Jain calls, “Don’t fight it, child. Don’t fight the honor of becoming a god.” Someone in the background, revealed later to be Lotor, calls out, “No! You can’t do this!”)

With Jain threatening Allura’s life, Lotor steps up to defend her, still holding up the battered King Altarus:  

(Photo description: Lotor yells, “No! Not Allura!” And he shoots Jain through the shoulder.)

(Photo description: Jain snaps, “Lotor! How dare you attack your own kind! I’ll smite my own daughter, let alone a pissant distant grandson!”)

Ultimately, Lotor’s decision to shoot his grandma (what is it with this franchise and matricide/patricide lol) results in Jain being distracted long enough for the combined spiritual/soul energies of Allura, the previous Council members, and Altarus to bring “life” to Voltron.

This completes Voltron as a spiritual being as well—that it’s sentient and not just a robot, but imbued with the hopes and impulses for a defender against the evil attacking them.

(Photo description: Voltron awakens as a sentient robot and stands to move against Jain.)

Realizing that she has lost, Jain flees in a poof of magic—with her daughter, Azahki, oddly disappearing too. The comic ends for them on an unsettling note that Sarga has in fact slipped through to the mortal realm…by choosing Azahki instead of Allura as her host body:

(Photo description: Jain kneels and cries, “Oh mighty Sarga, I humbly beseech thee. Forgive my failures. Forgive my ability to bring you into our world. I beg you to be given a second chance! I vow to you we will see this through.” From behind, someone says, “Don’t be so harsh, mother.” Jain turns around and asks, “Who dares?” A woman in a cloak appears and says, “You may have failed to give me Voltron’s power, my child. But do not fear.” The woman is revealed to be the possessed body of Azahki, Jain’s daughter. Through her body, Sarga says, “I found a body that will do just fine for now.”)

However, we don’t see this thread explored any further. Shortly after the battle, the Galaxy Alliance manages to rebuild a temporal manipulation device to lock in on the missing Team Voltron and Lotor, and pull them back through time.

(Photo description: A strange flying machine appears. Someone asks, “What…what is it?” Allura echoes, “What’s it doing?” Lotor peers at it curiously and says, “I believe it’s scanning us.” The comic panels show the device scanning and identifying people to send back to modern times.)

And so, eventually, this wayward team makes it back home, with the final panels suggesting the  Garrison had to complete a couple of temporal jumps to do it.

FUN LITTLE PIECES ALONG THE WAY

The comic itself had some interesting and funny scenes in it, including the following:

Please enjoy this image of a boi having tamed a dinosaur in the middle of an active battle:  

(Photo description: Prince Lotor sitting atop a large, dinosaur-like creature that he’s tamed, calling joyfully to the paladins, “You can put your toy away, Pidge. I know where to find the lions.”)

Pidge jokes about Hunk and Lance:

(Photo description: Hunk had saved Lance from a shot. In running past them, Pidge calls, “Keep moving, guys! There’ll be time for spooning later.”)

Some time-traveling paradox humor:

  (Photo description: Lotor shooting an ancient Drule, “Hope you’re not one of my forefathers.”)

Some Keith and Lance badgering:

(Photo description: Lance complains, “Keith Kogane seriously isn’t going to lecture me about battlefield romance, is he?”)

Did VLD get the name Kaltor from this comic??? Because Kalthor sounds pretty darn similar to Kaltor from VLD:

(Photo description: Jain calling out for an underling, “Kalthor! Sigh. Kalthor, this effort is beneath me. Extract the information I seek.”)

ALSO BLESS, THIS COMIC LETS ALLURA CUSS:

(Photo description: Princess Allura raises a blaster to use, but it doesn’t work. She says, “What the--? Damn! Now is not the time for you to malfunction! And I do not know how to fix a 1,200-year-old—”)

This comic probably is also the singular place in the DDP comics that offers any evidence whatsoever that Lotor and Allura actually did have positive childhood experiences together prior to his father decimating Arus, helping to explain Lotor’s curious loyalty to Allura throughout:

(Photo description: Lotor standing before Allura and saying, “I knew you’d pull through, Allura. Speaking of treehouses, do you remember climbing the Arusion orchids in the royal gardens when we were children?” Allura responds, “Yes…of course I do. I…”)

And finally, this comic has no issues whatsoever with making fun of itself or the concept of robotic lions:

(Photo description: A space pirate complains to Lotor, “Think about it! How you think this place ends up looking like it does in our time? Looking like Planet Doom?! Meanwhile, the Kitty Cat Club up there gets out without a scratch!”)

VOLTRON IS THE KITTY CAT CLUB, 2008 CONFIRMED

-

CONCLUSION

-

The 5-part comic A Legend Forged (2008) adds an incredible amount of history and lore to the Voltron franchise. It gave me some things that I personally was really craving out of this franchise—including some logic behind the lion imagery, a legit alliance between previously warring groups that doesn’t just end in catastrophe, some adult snark and some good-old fashioned silliness, some deeper exploration into dark entities/spirits, and also just a really powerful villainess that you can love to hate.  

I think the comic ultimately took on the theme of Strength in Unity and fulfilled the concept that people really can work together. Even if the Team Voltron and Lotor and Council alliance was all just temporary, it was still nice to see that alliance come through for the greater good of the universe, instead of leading to more mass insanity like it did in VLD….

I liked that in this iteration, Voltron stood as a collective effort on the part of various worlds who were oppressed by Empress Jain. That helps to tone down the savior complex inherent in the franchise, that at least here, Voltron wasn’t one nation’s attempt to play police for all other people.

From a critical perspective, if you read carefully, there are some instances where you can tell that various alien races are prejudiced against each other and discriminate on the basis of appearance and religion, and even Team Voltron feeds into this at times in their initial assumption that Korrinites are a barbarian race when in fact they’re very intelligent and advanced. These aspects are just not fully reflected on within this comic, but they definitely feed into the conflict as we experience it 1,200 years in the past. Interestingly enough, the comic also makes fun of Team Voltron members who are from Earth as being “primitive” too. So I guess the DDP world does function in a “problematic” state where all of these alien races are struggling with how to interact well with one another. I’m not sure if that baseline would be a potential trigger for someone just entering this series, so I wanted to call it out here.

I do also occasionally find comics hard to read because of the all-caps print and because comics will switch back and forth between past and present, with only small visual markers to warn you. So I don’t think these comics are designed in the most accessible way. But that could just be me.

---

Overall, I think A Legend Forged ranks as one of my more favorite comic iterations of Voltron. It definitely has some differences from both the 1984 and 2016 shows, but it pulls on enough shared content to remain accessible. And while it was a quick read, it felt pretty tightly constructed. I would have liked to see more aftermath and epilogue, but I feel thankful that the story got an ending and that both Team Voltron and Lotor are shown being transported back home. The comic’s similarities and differences compared to VLD made it fun to read and analyze as well.

So yeah, if you get the chance to try reading it yourself, I recommend it! And if you’ve made it to the end of this very long post, thank you for reading!

[helbertinelli]

As someone who likes a lot of the newer Star Wars content that’s been put out in the past decade, I’m wondering why a lot of people are constantly claiming that “Disney” Anakin and Padme are OOC.

I get it, Anidala is my comfort ship too and I only ever want the best for them, but the circumstances of their marriage were super unhealthy for both of them and it seems pretty obvious that it would manifest in other ways instead of just at the end of ROTS. They’re both incredibly strong willed people who believe they know what’s right, and they never really got to be together or effectively communicate with each other, and that’s super tragic.

Anakin and Padme are flawed characters, that’s something that people stress a lot, I’m just wondering why when any creator other than George tries to explore those flaws through their relationship, they’re seen as portraying them OOC. Obviously George has a lot of insight into their characters, relationship, and flaws and has revealed a lot about them through interviews, extras, etc., but I don’t think he was necessarily as good at showing it through the films (Padme especially gets a lot of her important scenes/plotlines cut and her characterization kind of suffers from that).

Idk, it might just be that I have a different perspective (I got into the fandom at around 2013 when a lot of new content was coming out) but I don’t struggle with reconciling a lot of the newer works as expanded characterizations, I don’t think that they necessarily contradict what’s present in the films most of the time.

Ultimately, it probably just comes down to how you interpret Star Wars as George Lucas’ creation, the man was very adamant that it was *his* story before he sold it, but I think multiple authorial viewpoints can exist in this massive franchise.

(Obviously people can have their own interpretations and there is no definitive “right” way to look at things, just wondering what the thought process is here)

Thanks for your ask. I’m going to break it down into the points you’ve sent just so I can keep my answer organized and not all over the place. 1. As someone who likes a lot of the newer Star Wars content that’s been put out in the past decade, I’m wondering why a lot of people are constantly claiming that “Disney” Anakin and Padme are OOC.

Because they made Anakin think that Padme would cheat on him and then they made Padme afraid of Anakin and made her tell him they need a break. And because they retconned their story in order to stuff in Clovis in Padme’s story. And it doesn’t fit in the timeline of events that have already been established for Padme and it doesn’t fit with her character at all. In AOTC, in the novel, it says specifically that Padme never made time for herself and she only cared about being a Senator. They mention it in the movie too, but in the book, they go more in depth. There’s no way she made time to have a relationship with Clovis.

Again, for Padme, they (TCW) also make her more focused on her job and they treat Anakin like he’s just some side character in her life. This is completely out of character for Padme. We saw in AOTC that Padme developed from this person who only put her job first, to a person who finally allowed herself to have feelings for someone else and who would put that person before anything else.

If this was not true, then Padme would not have ignored Mace Windu’s request to stay on Tatooine until the Jedi go and rescue Obi-Wan, she would not have married Anakin at the end of AOTC, she would not have gotten pregnant with him, she would not have lived with him on Coruscant, she would not have made plans (and been happy about those plans) to leave her job and move to Naboo and raise their child(ren) there, she would not have went after Anakin after he turned to the dark side and asked him to go away with her.

TCW ignored that Padme got significant development in AOTC and that because of that development her character from TPM and the beginning of AOTC was now changed. They ignored that and decided to portray Padme as we see her at the beginning of AOTC. Spending time with Anakin is a chore, it doesn’t matter what Anakin says even if his concerns are right, only the Republic and her job matter.

There are moments in TCW where their relationship is good, but there are really bad and out of character moments that overshadow the good stuff.

2. I get it, Anidala is my comfort ship too and I only ever want the best for them, but the circumstances of their marriage were super unhealthy for both of them and it seems pretty obvious that it would manifest in other ways instead of just at the end of ROTS. They’re both incredibly strong willed people who believe they know what’s right, and they never really got to be together or effectively communicate with each other, and that’s super tragic.

I don’t think their marriage or the circumstances of their marriage were unhealthy. Their relationship is one of the best ones in Star Wars since it’s very mutual and it’s based on respect and understanding. Padme and Anakin know each other very well and they understand the other like no one else. They’re also nothing but respectful and loving of one another. I don’t see how that is unhealthy.

Them having to hide their marriage and not being able to spend time with one another too because of the war does have an effect on Anakin and Padme, but not on their relationship. Neither of them would think that it would be better not to have a relationship than to have a secret one. I know that Padme said this in AOTC, but she changes her mind about that fairly quick. Again, going to the AOTC book, we actually see Padme doubting her words in that very scene and she’s thinking they’d end up be destroyed worse by not allowing themselves to be together.

3. Anakin and Padme are flawed characters, that’s something that people stress a lot, I’m just wondering why when any creator other than George tries to explore those flaws through their relationship, they’re seen as portraying them OOC. Obviously George has a lot of insight into their characters, relationship, and flaws and has revealed a lot about them through interviews, extras, etc., but I don’t think he was necessarily as good at showing it through the films (Padme especially gets a lot of her important scenes/plotlines cut and her characterization kind of suffers from that). 

George Lucas did not have a lot of time to show Anakin and Padme’s relationship in the movies. And yes, Padme did get a lot of her scenes cut out. I don’t think her characterization suffered from it, because we, as the audience, could still understand what Padme stood for and what was important for her. Sure more detail would have been nice, but I don’t think that her characterization was lacking in any way. Like in AOTC it would have been nice to see more scenes of her that showed her being in love with Anakin, but there were still other scenes left in the movie that showed this very well.

I don’t think that only George Lucas is able to explore the flaws in their relationship and their characters. I think I’ve seen some fragments from some SW books on here that have Anidala scenes and Anakin and Padme do have some conflict, but they resolve it. Like there was one where Padme had to go on a mission that Anakin didn’t approve with and they basically talked it out and reached kind of a compromise I think. And there was another book where Anakin and Padme wanted to make out and have sex, but Bail and Obi-Wan were close by and despite how much they both wanted each other and how much it hurt them not to be together, they agreed it was better this way.

The problem is when people create conflict in their relationship that would not make sense in the first place, and then try to say that because of that conflict they just created, Anakin and Padme’s relationship is bad. Like as I discussed above with TCW and making Anakin think that his wife would cheat on him. That would never happen. I think it was in the ROTS book where Palpatine is trying to convince Anakin that Padme is having an affair with Obi-Wan and Anakin is like “Nope, I know Padme.“

It makes no sense to change Anakin’s character to now believe that his wife is cheating just to create drama in their relationship. The TCW writers tried to push a weird love triangle on a happily married couple and then they tried to make Anakin seem like the bad guy for not liking Clovis forcing himself on Padme and for trying to get her killed before that. They created a conflict that would never happen in their relationship normally and then they were like “Oh look Anidala is toxic!“

4. Idk, it might just be that I have a different perspective (I got into the fandom at around 2013 when a lot of new content was coming out) but I don’t struggle with reconciling a lot of the newer works as expanded characterizations, I don’t think that they necessarily contradict what’s present in the films most of the time.

Ultimately, it probably just comes down to how you interpret Star Wars as George Lucas’ creation, the man was very adamant that it was *his* story before he sold it, but I think multiple authorial viewpoints can exist in this massive franchise.

(Obviously people can have their own interpretations and there is no definitive “right” way to look at things, just wondering what the thought process is here)

I can’t speak for your perspective, but it’s fairly easy to see that TCW is not really expanded characterization in the case of Padme and Anidala, specifically, but it actually contradicts things that were already established in canon. In order to achieve TCW!Padme they had to go back on Padme’s characterization in AOTC and completely ignore her character from ROTS. I know TCW takes place between AOTC and ROTS, but in the timeline, Padme would already have been married to Anakin for some time, so a lot of her characterization from ROTS would have to be incorporated in TCW!Padme. But they didn’t. TCW!Padme is basically TPM + beginning of AOTC Padme but done badly. TCW!Anidala is very contradictory with Anidala in the movies. Not only do Anakin and Padme mistrust one another and doubt each other, but the timeline has been modified to squeeze in Clovis.

We see a bit of conflict in the movies, when Padme tells Anakin that maybe the Republic is wrong and yes, it never goes anywhere, but at least it is realistic conflict. It’s not “Hey here’s my secret boyfriend that I never told you about even though we are married and I’m gonna spend time with him even though he got me poisoned one time and then my handmaiden got killed by his stupid plot and I almost endangered the Republic by helping him out and if you don’t like that he’s forcing himself onto me, then I guess our marriage is broken and we can’t be together for a while.“ That is completely against their relationship based on both of them being loving and honest and respectful to each other.

The movies made it clear that despite everything that was going on in both of their lives, Anakin and Padme found comfort in one another. They were open and honest and loving to each other (up until the point of Anakin turning to the dark side). TCW ignored all of that and pushed their own interpretation onto Anidala. Anidala was meant to be a fairytale romance that was basically the two of them against all odds and they brought the best in each other. Their characters were extremely connected that it was weird to have Padme without Anakin or Anakin without Padme. They were both extremely committed to each other, they were both ride or die for one another. And we saw it in the movies very well. Anakin destroys everything to be with Padme and Padme is willing to leave everything behind to be with him despite all the horrible things he has done. She dies still believing there’s good in him. And then TCW comes in and tries to make Anidala in some cheap TV sitcom romance where all they do is bicker and get jealous and Padme acts like it’s such a chore being Anakin’s wife. They westernize their relationship in the worst kind of way.

There’s no way to not find it contradictory that Padme in the movies who, dies from a broken heart and her last words are that there’s still good in Anakin, despite everything he did to the galaxy and to her personally, would be the same as TCW!Padme, who gets angry and scared of her husband beating up the guy who tried to sexually assualt her and then tells her husband that their marriage isn’t a marriage and that they need to take a break. It makes no sense at all.

I’m all for conflict between Padme and Anakin, but it needs to be realistic conflict. It can’t be what TCW tried to push on them or the silly theories of Padme hating Anakin for turning to the darkside (when she tried to get him to run away with her and even before in AOTC she consoled him after attacking the Tusken) or her trying to kill him at any point (when she dies believing there’s still good in him). That’s like saying that Luke would try to kill his nephew and then run away and hide on a remote planet, abandoning his family. It contradicts what has already been established about him.

Also, when you write something like TCW where you’re basically adding stuff to the middle of something, you’re basically required to know the source material of what came before and what came after the thing you are writing and you need to make your story fit and respect what came before and what came after. Otherwise, you just end up writing TCW!Padme and TCW!Anidala where it contradicts already established canon. If I never watched SW and I would just now start watching it for the first time and I’d watch: TPM, AOTC, TCW, ROTS, SWR, RO, ANH, ESB, and ROTJ, it would make no sense to me how Padme who told Anakin that their marriage isn’t a marriage, would distrust Obi-Wan when he told her of the attack and it would make no sense that she would go to talk to Anakin when TCW showed us how easy it is for her to just dump him.

This goes for TCW and for fan theories where Padme hates Anakin or she tries to kill him, I can’t reconcile those with the actual canon because then that character isn’t Padme anymore, and the ship isn’t Anidala anymore. It goes against the core of the ship, of what makes Anidala Anidala. They’re together because they’re so in love with each other and both of them will die being in love with each other. If you have them break up or end up hating each other, then you’re no longer writing about Anidala, that’s a different pairing entirely. With AUs and headcanons and fics and even other canon material, you have to be careful how you alter something so that the essence of a character or a pairing does not get lost. If it does, then you end up writing about different characters and different relationships. I’ll again use Luke as an example. Luke was willing to die for his family, to get his father, whom he didn’t even know beforehand, back, he even left his training because his family needed him. If you write Luke as being the person who wanted to kill a member of his family at the first sign of darkness, who then abandoned his family, and ignored all calls for him to come back, then you just lost the essence of Luke who was all about unconditional love and family, and you now have a different character altogether.

[brawltogethernow]

I suppose the next step then is "BBC Merlin but it's SpideyTorch"

Oh my god. TEACHER, TEACHER, SHE’S TARGETING ME okay okay uh.

Peter, secret warlock, goes to Camelot with his mother figure, May, who does not know about the warlock thing because it kicked in when he was a teenager and they both strategically decline to tell each other things. Gaius is Reed, who was the court sorcerer and is now the court scientist. (He’s not an old man except spiritually where he has been a senile professor since he was 19.) He literally didn’t change anything he was doing, considering science and magic as different points on one spectrum anyway-- No. That’s Doom’s schtick. DOOM was the court sorcerer, and was fired. He is upset about it. Reed is just a science guy but worked extensively with Victor, so he’s kind of useful, but not as useful as Peter was hoping.

I know very little about Sue and Johnny’s dad except that he’s a supervillain who...faked his death, revealed himself, and then died for real like 12 hours later? Did he also fake his wife’s death at some point? Would he do a mad king magic ban thing? Idk but for plot purposes we’ll say yes. They conveniently already share Arthur’s dead mom syndrome. Maybe their aunt whose name is different depending on what issue you’re reading is also here just to convolute the court drama. Wait no didn’t Arthur have a shady uncle show up after like five seasons. She.

Peter is very talented at finicky, specific magical formulas. (Reed: :) )But in practice he really prefers to just slam out a big wave of power, and if that doesn’t solve the problem, repeat until it does. (Reed: :( ) He gives this a go at the beginning of sorting out any problem, like restarting your glitching computer, and if it doesn’t work the problem is complicated enough to be an episode plot.

So obviously I’m still gonna do secret identity shit? Peter saves the young prince and heir’s life and is rewarded with a second job; he only came here for job reasons and you’re all lucky he doesn’t turn down paying jobs otherwise he’d be having some words with the king. Peter also accidentally becomes a masked vigilante out in the town. His very existence is illegal because he’s obviously doing magic! They keep sending his boss out to hunt him down, and their eyes are always locking dramatically and shit in brief silent stare-offs from opposite ends of the street in thunder storms at sunset until Johnny’s horse rears and breaks the eye contact causing Peter to snap out of it and flee. You know how it is.

Sue is older than Johnny and thus older than the magic ban, so she responded to it by going “:) That’s nice, Dad” and socking away a bunch of books before they could go on the fire, and now she’s just a sorceress on the dl. This is approx. a first season finale reveal, because her real superpower is being able to keep her mouth the hell shut. I literally cannot with how nobody in Merlin ever exchanges information, so shortly after Peter and Reed learn this they exchange secrets, like sane people, which opens up their resources a bit.

That said Sue is an extra legitimate royal, not the Morgana equivalent. Maybe Gwen should be Gwen, especially since I have thought Gwen/Johnny/Peter has potential since reading Spider-Man/Fantastic Four (which if you read an earlier ask, I recommend if you want to see new art of Gwen being mean in hair clips). But Peter/Gwen and Merlin/Freya are like...same energy except the latter wasn’t as well done. And Merlin’s Guinevere honestly more reminds me of Betty. Morgana--

(wheeze)

(cough)

Okay I thought this trying to reconcile as much of the cast as possible and I now can’t unthink it so. The king’s ward is Dorrie Evans. Yes she goes nebulously sapphic evil witch queen. Sure she was an unpleasant teenager and readers hate her, but you know what, I’ll simp, whatever. Let Dorrie poison some people. In a cape. This feels natural to me. Also Betty Brant and Dorrie Evans???? Betty/Dorrie vibes???? I guess!!!!

So like. The thing where Arthur gets mystically whammied by love potions once a month, except also Johnny’s normal relationship-anticipating giddiness happening organically mixed in, the part before he actually starts dating someone and becomes immediately depressed. Peter is in the bg sarcastically dismissing magical incidents saying he can’t even tell the difference, and Reed is like 😬 Please Check Anyway. Peter’s not, haha, Peter’s not jealous, Johnny is just an idiot, and, okay maybe Peter is a little jealous! But it doesn’t matter because the prince is going to marry some noble and--

Reed: Prince Johnathan is a bit like a little brother to me, so Please Stop Telling Me About Your Problems.

Reed/Sue is reciprocated but on permanent hold for class reasons. Spideytorch is in the same boat except they’re also stupid and working it out by dating their way through the whole country, except Peter is actually into that and Johnny is not.

The dragon is...Ezekiel?????? That’s the right level of wise wry mentor who’s very shady and will kill you, so he’s a dragon now. And when he tells Peter he’s the (other) chosen one, Peter full stop doesn’t believe him. This disbelief goes on extensively. Peter is not a fate-oriented person. Johnny would love to hear about the fate thing, but no one will tell him.

Literally I’m just going to add more chronologically unmoored medievalish shit to Merlin now to cram more of the cast in. There’s some kind of town crier/herald outfit, and Jonah is their boss. He’s just out in the road yelling sometimes even though he can delegate that. The buglers otherwise known as Bugle staff named Peter’s vigilante persona the Spider, which was supposed to sound menacing but is in practice also cool. This is out-of-universe fairly equivalent to Merlin’s real name as a neat two-syllable animal word and possible title. In-universe maybe I’d elbow out Emrys and just use this. Merlin is already very servants-don’t-work-like-that, so Betty just also has two jobs for no reason so she can knock elbows with them.

MJ is the court jester and knows absolutely everything, which is a dramatic mid-game reveal that isn’t exactly foreshadowed so much as always possible while carefully obscured from the viewer (the reader). Before this she’s already a Wise Fool, Shakespeare-ways archetype character, it’s just not clear how much. She is the most important character in Homestuck Merlin Spider.

Every ship is real for at least 30 seconds. Most of the extended FF cast are either magical antagonists or weird nobles.

Ben????? (Grimm, I mean. Ben Parker is dead. Ben Reilly is a recurring episodic plot.) This show was painfully formulaic and would simply not keep someone with any version of his deal in the main cast, but he’s a full quarter of the FF so. A magical accident approximated his rock body deal. Maybe specifically tying him to ~the magic of the land~. And then, uh. Wandering the country is too satellite-like. Hiding out in a forbidden castle wing is interesting but doesn’t do him justice. So I guess it’s a come and go semivoluntary transformation thing that’s kept secret? Rock werewolf. Were-rock. Good opportunity to fake out like you’re going to do a monster of the week plot, and then he contributes to the tension to abolish the magic ban.

Knights?? Wyatt is there from the beginning, being tall and reassuring (holding a sword edition). Not sure how him or his immediate ancestors got to Europe and then ended up this involved with the local nobility, but it was probably exciting. And Flash, or he’s an early addition. Either way he’s from the same village as Peter and is approximately White’s Kay, except directed at the wizard instead of the future king, and otherwise you can completely superimpose their comic dynamic including the fanboying over the secret identity angle, which is entertainingly seditious. ...Others. I don’t know enough FF characters for this. I’ve accidentally implied the eventual addition of Bennet Brant, but his evil sorcerer of the week energy is very strong, so maybe not. Randy eventually because I already implied the Robertsons and can see it.

This is so long, covers nothing, and explains none of the namechecks. Using both these characters’ franchises in one fusion is too much stuff. I keep not talking about the core relationship because it’s just. Like That. I don’t feel like I need to elaborate on the Merthur dynamic, even transposed on a different ship. It’s Just Like That.

[saipng]

re7 anon, im bad with horror in general so im progressing really slowly but i genuinely thought losing hands was a re8 thing and i felt quite bad for ethan when he lost his left hand like .. he got it back but also i wish he could keep his hands. also if you don't mind me asking, why is re8 a bad game? i dont know anything about this franchise i just jumped straight into the 7th game with 0 knowledge

man oh man how i WISH you hadn’t asked that, for both our sakes. cuz now it is 5 am the day after my birth and there is no way that i am not going to go into an overtly long rant that idk if anyone will care about. but hey, you brought this upon us, so.

without spoilers, why is re8 a bad, bad game?

well, you see. that is simply because it is not a game.

it is a part of a franchise.

listen. listen here. what the hell is that supposed to mean???

there are plenty of franchised games, right. just because a game is part of a franchise, or even a sequel to another game, obviously doesn’t make it automatically bad.

the reason re8 is bad, however, is because that’s all it’s meant to be. it is a sequel and a prequel to yet another sequel. it is not a game.

because, if you look at it from the point of view of a self contained game, it is bad.

the story is all over the place. absolutely nothing is answered or explained, and only more questions are created with the promise to be explored in future games. new characters are introduced only to be very obvious sequel baiting, and absolutely none of them are explored beyond the surfacest of surface levels.

moreover, the reason for things to happen simply isn’t there. the story is so bad, the characters in canon literally cannot explain it to you. the reason is ‘just cuz’. it feels like capcom threw all of their budget into rendering every follicle on dimitrescu’s tiddies as opposed to actually creating a cohesive narrative that doesn’t fall apart at the simplest probing.

see, the reason that re7 worked and re8 doesn’t was because re7 was a GAME. any person, even a person like you, who has never heard of anything resident evil before or even cared about the franchise, could jump in and enjoy their experience with it. the horror works, the story works, the characters work. the pacing is immaculate. i’m not saying it’s a perfect game obviously, but it WORKS and it is FUN. and, for those who DO know resident evil, you get the hints and implications and the lore and even a familiar face and eventually, the dlc. it was an AMAZING reboot to the franchise.

re8 though? re8 assumes you’ve played all of resident evil games before and you’ve enjoyed them immensely and you want more and you will play again and again and again.

im not saying that a game, especially a sequel, has to be completely free of references or call backs to previous games or work alone without any previous knowledge. i mean. that’s not how sequels work.

but in the end, they’re still supposed to make sense. a game is supposed to be that - a game. doesn’t matter if it’s the first or eighth or seventeenth.

re8 feels like a weird wobbly bridge that you got across before the other side is finished building. it is awkward. it feels incomplete, stitched together from different concepts and ideas. they brought back ethan winters only to have no idea what to do with him. they introduced the lords only to be short term hype generators. they shoehorned in chris redfield because he is chris redfield and it really doesn’t matter how much he doesn’t fit.

in my humble opinion, the game needs to be at least 5 hours longer for it to actually start making sense. at LEAST.

the characters, protagonists and antagonists alike, need to actually be explored, the pacing fixed, flimsy writing tied together, map expanded, puzzles actually added in. then, it would be a better game. i don’t know about good. but definitely better.

that being said, you may be thinking. why the HELL is everyone obsessed with this trainwreck????

well, because we’re all mentally ill, that’s why.

okay, serious answer - because the less the assholes give us, the more power it gives us to project and play around. they created these extremely fun concepts and didn’t bother developing them despite the enormous potential and that pissed us all off. well, me. it pissed me off.

and, as we all know, NOTHING motivates me more than spite at this point. so me and the other content creators basically ripped the lords and ethan and rose and all the others out of capcom’s undeserving hands and said ‘okay thanks ours now’.

because dammit, resident evil village could have been SUCH a good game. the idea of it is FUN and we all love it.

the execution? perfectly terrible.

and again, i’m not saying that you’ll hate it. i think you can, and should play it (or at least watch a playthrough). and moreover, i think you’ll enjoy it. i think you’ll have fun, still. i think you’ll like it a lot, as did many others.

none of that erases the fact that it is still very much a bad, bad game.

now, i could go more into how the horror elements greatly suffered because of capcom’s desperate need to rehash re4, or just how much of re4 they actually ripped off and shoved into this game; i could talk about how ethan winters (and mia, to an extent) is a terrible character in this game and reason he works in re7; i could talk at extent why the bakers were truly scary and the lords very much arent; i could even mention all the unnecessary mechanics and how much they truly contributed jack shit to the experience.

i could, but i’m not gonna. this is long enough as it is, and i hope it all made sense, at least somewhat. i tried to not include any spoilers (as much as was possible).

and i also really hope i didn’t dissuade you from giving re8 a try.

because, like i said, it’s still fun. capcom gave us steel beams and pieces of plastic and said ‘go wild’ and we built our own playground. it’s like that post that’s like ‘this amazing new restaurant everyone talks about and you finally go there and they serve white toast bread and everyone brought their own jam’. literally that.

but it can be so good, if that’s something that you can be into !!!

oh and. this is my own personal take on the game, of course. draw your own conclusions, yada yada. but if you’re bad with horror, you’ll find this game easier to digest for sure.

anyway. periodt.😩✌️

[itsclydebitches]

Voyager. Now that’s a kettle of fish. Obviously watch/enjoy whatever you wish, but I do recommend also checking out SFDebris’ reviews of the episodes (he’s the rwde of Voyager). He is a lot smarter and more eloquent than me.

Putting these two asks together since my thoughts on both are all jumbled! 

Now, I want to emphasize that I’ve only watched the first 16 episodes (Season One + Season 2 premiere), so idk if Voyager is going to go seriously downhill later on, but right now I do really like it. And not in a, “Lol yeah compared to the other crap on it’s good, I guess” way, but in a completely honest, “It has its flaws, but is overall a solid, compelling show with lovable characters” way. Out of curiosity I watched SFDebris’ review of “Phage,” though I’m afraid I didn’t agree with it. The only part were I was like, “Yeah okay” was pointing out that they had the Doctor using a keypad when he supposedly wasn’t solid, but that’s precisely the sort of continuity error that, in an otherwise strong show, I’m willing to shrug off. For all the major points, it sounds like SFDebris is concerned primarily with the show he wants Voyager to be, rather than the show Voyager actually is. Which I know sounds familiar--I’ve heard that criticism leveled at my own work: “You just want RWBY to be a totally different show”--but the difference is that Voyager is a part of an established franchise, following three other TV shows, an animated series, and a collection of films. It’s not an original show (like RWBY) that can take itself in any direction the story may need/claim to want (again, RWBY). It has a brand and those established characteristics seem to be bumping up against SFDebris’ critiques: 

Hating Neelix as a character - You’re supposed to hate him. Or at least find him frustrating (I don’t personally hate him) because that’s what all the characters are grappling with too. From Tuvok forced to have an awkward conversation while Neelix is in the bath to Janeway dealing with him taking over her dining room, Neelix’s conflict revolves around how others learn to accept him. Star Trek as a franchise is about “Infinite diversity in infinite combinations.” Voyager begins with the problem of how the trained Federation officers are supposed to work with the more violent Maquis. Difference doesn’t just create “Wow, you’re so amazing!” reactions, it also includes frustration, disagreement, and outright hostility. Creating an outsider character with a kind heart but incredibly overbearing personality is a great way to test the other characters’ convictions. Do they actually care about all life in the universe? Or do they only care about life when they personally find it palatable? Having Neelix around is a great reminder for them--and the viewer--that just because someone annoys you at times doesn’t mean they’re any less worthy of love, respect, and companionship. It also doesn’t mean they don’t have something to offer: he keeps the crew fed even if his cooking is horrible, he provides information about this area of space even if he sometimes gets it wrong, we roll our eyes at the “Morale Officer” stuff, but Neelix does provide much needed perspective for characters like Tuvok. If Neelix made fewer mistakes, stopped bugging the crew, became a “cooler” character for the audience to root for rather than be frustrated by... a lot of the point of his character would be lost. 

Frustration about discoveries not carrying over to the next episode - AKA, the crew finds inanely powerful, alien tech and then (presumably) never uses it again. This would indeed be a big problem in a serialized story (like RWBY) but Voyager maintains much of Star Trek’s original, episodic nature. Though we have continuity in the form of them inching towards home and evolving as characters, the world still resets to a certain point at the end of each episode. This is what allows Star Trek to explore so many different questions and have so many different adventures. If you demand that serialized continuity--this character needs to have an arc to deal with this traumatic experience, the crew has to follow the thread they just discovered, our Doctor needs to do something with the new tech they just found--then you lose the variety that Star Trek is known for. Instead of a new story each week (or, occasionally, across two weeks) you’ve got a single story spanning months. Neither form is better or worse than the other, it’s absolutely a preference, but there’s a very specific, structural, intentional reason why the characters “forget” about the things they’ve discovered and, at times, experienced. Unlike Ozpin forgetting that he has a nuke in his cane for seven volumes, or Ruby forgetting to use her eyes at crucial points, Star Trek deliberately sets things aside to ensure there’s room for new ideas and questions next episode. 

Janeway doesn’t kill the Vidiians to get Neelix his lungs back - No Starfleet captain would. At least, not during this period of Star Trek. Sisko has development in that regard (making morally gray choices), but that’s built into the heart of the show from the start: he’s on a station, not a starship, that is jointly run by the Federation and the Bajorans, and built by the Cardassians. The rules of the Federation always had a tenuous hold there and Sisko as a character always pushed the boundary of the Federations expectations (Q: “Picard never hit me!”) Janeway, in contrast, is 100% a Federation captain and, more importantly, has explicitly told her crew that they will be operating as a Federation vessel, despite being so far from home. That’s the conflict between the officers and the Maquis. That’s why Tuvok accepts the alien tech in “Prime Factors,” recognizing that Janeway can’t. That’s why Seska is a compelling antagonist, pressuring the crew to abandon their ideals for survival. The series (or at least that first season) revolves around questions about identity and whether they’re willing to give that identity up now that they’re out from under the Federation’s thumb. Overwhelmingly, they choose not to... which would make murdering the Vidiian a complete 180 for her character. We’re not necessarily supposed to agree with Janeway’s choice, we’re supposed to acknowledge that murdering another sentient being is not some simple choice to make, especially when you’re a leader devoted to a certain set of ideals. We’re supposed to recognize the challenges here (many of which SFDebris doesn’t acknowledge) like how you’re supposed to keep a prisoner for the next 75 years when you’re already struggling to feed and take care of the crew you have, or the fact that they claim to take organs from dead bodies and this was a rare time when they couldn’t. (It’s only in “Faces” that we learn this is complete BS and they actively kidnap people to work as slaves and then be harvested.) The frustration that Janeway doesn’t act here stems from wanting her to be a character who is, fundamentally, not a Star Trek captain. 

Granted, I only watched one review, but that’s what the whole thing felt like: wanting a series that’s not Star Trek. Something without a token, challenging character, without hand-wavy science, that’s more serialized, and doesn’t adhere to a “do no harm” code. (I just started “Initiations” and Chakotay asks a vessel to stand down three times, while actively being attacked, before finally retaliating and then he tries to reestablish communications and then he warns them about their engine and then he beams them aboard his shuttle. That’s what Star Trek (usually) is: that idealized love of life, even when that life is actively hostile). And like, that’s obviously fine! As you say, Flawartist, “watch/enjoy whatever you wish,” but just based on this one review I wonder if SFDebris just wants something other than Star Trek. 

I think one of the reasons why I feel passionately about this (beyond my love of context and recognizing when shows are actively trying to accomplish something specific) is that I went through this with DS9. For years I heard about how horrible the show was. It’s trash. It’s a mess. It’s not TNG, so don’t even bother. Or, if you do, be prepared for disappointment. There was this whole, strong rhetoric about how silly it all is--Star Trek is, by default, silly, so supposedly only the Shakespeare loving, archeology obsessed captain is sophisticated enough to save it--and then... I found nothing of the sort. I mean yeah, obviously Star Trek is silly as hell (that’s part of its charm), but DS9 was also a complex, nuanced look into everything from personal agency to the threat of genocide. There’s so much wonderful storytelling there... little of which made it into my cultural understanding of DS9. And now I’m seeing the same thing with Voyager. When I did some quick googling I was bombarded by articles saying how bad it is and now I have an ask comparing it to a show I don’t think has even a quarter of the heart the Star Trek franchise does. Which is is not AT ALL meant as a knock against you, anon. I’m just fascinated by this cultural summary of Star Trek: TOS is ridiculous but fun if you’re willing to ignore large swaths of it, TNG is a masterpiece and that’s that, DS9 is bad, Voyager is bad, and to be frank I haven’t heard much of anything about Enterprise. It’s weird! Because I watch these shows and I’m like, “Holy shit there’s so much good storytelling here.” Is it perfect? Not on your life, but it’s trying in a way that I can really appreciate. It’s Star Trek and Star Trek (at least at the time) meant something pretty specific. Criticisms about divisive characters or idealized forgiveness feel like walking out of a Fast and Furious film and going, “There was too much driving and silly combat. Why didn’t they just fix the situation in this easy way?” Because then we wouldn’t have a film about lots of driving and silly combat! If you make all the characters palatable, make Janeway harder, extend the impact of all the discoveries, remove the ridiculous science that doesn’t make any sense... then you don’t have Star Trek anymore. 

[handonhaven]

I know so many are tired of having malivore as a villain because we've been dealing with him for 3 seasons now(even though it was stated that he's the villain of the series). And people are ready to be done with malivore. I honestly don't mind it. Because it just seems more realistic to me. Some bad guys takes seasons to take down because of how strong they are, and how smart they are. And malivore's been around for a 1000 years give or take, there's no way they can take him down in a season or even two. And I think the build up from season 1 til now. Because I did not see that coming. I want to talk about Clarke and the whole Holarke ship. When I first saw Clarke I thought he was going to be the Katherine of legacies(I'm not comparing legacies to the vampire diaries because they're clearly very different). But now it seems like they're putting him on the road to being a good guy now. And I'm not really a fan of that, because it seems like with legacies everyone ends up turning into a good guy. And that's not very realistic to me. Clarke has been the way he is for centuries now and I think a lot of that was based on fear. I believe that some people are so stuck in there ways there is no way they can change. The Holarke ship just seems so wrong to me. I know it won't happen because it seems like legacies is breaking off from putting 16-19 year olds together with someone centuries older than them. But I could be wrong. Also I don't get why I see so many people say that they don't like legacies because it's not like the vampire diaries and the originals(but that's the point). But if they dislike it so much then why are still watching it?

I don’t really have a problem with Malivore either. The thing is that, yes, he’s been the villain, but we’ve not actually seen him as the villain. He’s been in the background and the cause of the monsters, but he’s not really been there and interacting with the other characters till now. And there’s just so much we don’t know about him. He’s been the villain, but they’ve not really explored him as a character or how his dimension and everything works, his connection with Landon, how exactly he created Landon and what Landon is, etc. So I’m not entirely sure why so many people want him gone when we haven’t found out all there is to know. I just have so many questions, I’d be very upset if they got rid of him and dropped it before explaining everything. And that’s a good point, it is more realistic for them to take longer to defeat this being that’s been around for so long. And who is also still very mysterious in his abilities and what exactly he’s capable of and all of his goals. So I feel there’s a lot more of Malivore’s story that they haven’t even gotten into yet. And I agree, I think they’ve done a fairly good job with the build up as well.

And yeah, I didn’t really know what they were gonna do with Clarke, and I’m still not sure. I hadn’t thought he would be as much of a villain as Katherine was, but then he wasn’t even around for all that long before they killed him off in 2x08, and I had thought there was a good chance he’d never be back. But true, it seems they are making him a good guy now. Though whether they’ll keep him around or not, who knows, he could end up leaving the show again. But you make a good point, there aren’t many characters on Legacies that stay bad or are real threats. And yes, when someone is a certain way for as long as Clarke has been, you’d think it would take a very long time for them to truly change, if they ever did. And some characters just don’t, so that could end up being the case with Clarke, I guess we’ll have to see. And agreed, I know Holarke isn’t gonna happen, and it does seem like they’re trying to stay away from ships with those age gaps now. The last one they had was Lizzie and Sebastian, and that did not end well. And it wasn’t received well by a lot of the fans either. So I think they’re trying to avoid ships that could be controversial in that way.

Okay, to be completely honest, I am one of those people who wishes Legacies was more like TVD and TO so I’m not sure I’ll be very helpful in answering that part of your ask. 😂 Idk, the thing is I’m a longtime TVDU fan. Like, I’ve literally been watching since day one when the TVD pilot aired. So for me, it’s been hard to see all the changes with Legacies. And it’s not because I want it to be just like the other two shows. I don’t want a repeat of the same storylines and I’m fine with the concept and storylines in Legacies with Malivore and everything. I just wish that the writing and the quality was as good as the other two shows. And also the tone... I know that they wanted Legacies to be different and for it to be lighter, and that’s fine. But imo, the way they’ve gone about making it “lighter” has been very... strange. And I feel they’ve taken it to the extreme a lot of the time. I just feel like, if you’re gonna make another show in a franchise, the tone should be similar enough to the past shows so it can still feel connected and grounded in that same world. And Legacies has often not even felt like TVDU to me. So those are just some of my main issues with it being different. And I could say a whole lot more about that and go on for a while, but I won’t. I don’t wanna be negative or bother anyone, these are all just my own opinions. I know some people love it just how it is, and if you do, that’s great. And even though I’ll express my disappointments with the show, I really do try to focus on what I do love about it (Handon) and try to put my energy into enjoying Handon content rather than just hating the stuff about the show I don’t like. And Hope and Landon are basically the main reasons I watch the show at this point. And because I’m just very attached to this thing I’ve been watching for over a decade and this show is all that’s left of it so I am curious to see what happens. So that’s why I keep watching it. I’m not sure what other people’s reasons are for continuing to watch it though. I understand if people are disappointed and want to express that or talk about improvements that could be made. But if they’re just spreading negativity and hate, and there’s nothing about the show that they enjoy, I’m not sure why they’d still watch it. If they don’t like anything about it, they might as well just stop watching.

[gins-potter]

The Yaya and Torrey of it all...

To distract myself from the fact that Chicago Med likely won’t be uploaded for hours yet, and also because I’ve been kind of slack about posting about One Chicago lately, I thought I’d write down some thoughts I’ve been having about Yaya and Torrey leaving.

At first I was stunned, like I did not see that coming at all.  Tbh I’d forgotten completely that with this being the sixth season most of the main casts contracts would be up.  Fire owns my heart so I’ve mostly been following news about Jesse and Taylor’s contracts, while keeping half an eye on news about PD contracts - Med was so not on my radar.  But once I think about it, Torrey and Yaya leaving kind of makes sense.... emphasis on kinda.

(it got kinda long so full thoughts under the cut)

April Sexton - Nurse Practitioner

I think everyone agrees that this is the departure that makes the most sense of the two.  I think I remember being a little worried when this storyline started that this was a way of writing April out but I guess I just settled into the assumption that she would study off-screen and maintain a work/study balance ala Penelope from ODAAT (if you’ve never seen that show the main character Penelope works as a nurse while studying to be a NP at the same time and both are shown on screen).  Presumably now April will just be written out completely to go study.  

I’ve seen some theories floating around that she’ll move out of state to be with Noah (where did he move to? Atlanta?) and I think that could really work.  I do wonder how this might be tied in with Archer’s offer to get her into that school she wanted.  I cold see April going back and forth for a few episodes deciding if she wants to take him up on his offer or not, so I’ll be interested to see how that develops.

I’ll definitely miss April, she was never my favourite character, but I think season 6 was really good for her and seeing her work in two different areas she was clearly passionate about was nice to see.  And as far as storylines go, writing her out so she can advance her career is a good way to do it, it’s hard to be too sad about her leaving when you’re happy for her as a character.  I am a little bummed in terms of the Chexton of it all just because I did ship them for a little while, and I did kinda see them getting back together eventually, but I guess that won’t be happening now.  I’m not too heartbroken about it but I did think they had moments where they were good together.  I think one of the biggest downsides to writing April out is that it means we’ve completely lost another sibling duo in the One Chicago universe (and if I’m counting right that leaves only the Halstead bros standing?)(editing to clarify I mean siblings who are main characters/regulars on the shows not characters who have siblings in general).  But it sounds like Yaya already has a new show lined up in which she’s the lead (correct me if I’m wrong about that part) and I think this NP storyline really serves for a good exit for April and Yaya both.

Natalie Manning - Where the hell does she go from here?

The one that makes less sense to me has to be Nat’s exit.  And I say that in the context of the entire show, her current storyline trajectory makes a lot of sense actually.  Obviously we don’t know for sure what’s going to happen but there’s a lot of theories going around that make a lot of sense.  Where we’re at as of writing this post (I haven’t seen 6x14 yet) Nat’s taken the pills, Will’s in trouble for it, and she knows he’s in trouble for it.  It seems plausible to me that from here we get a couple episode of Nat fucking around trying to come up with a way to get Will out of trouble, before ultimately coming clean to save his ass, the repercussions of this being that she has to leave the hospital.  I have two problems with this.

The first, where the hell does this leave Natalie?  Because at this point we’re contending with two different entities, the drug company who was in charge of the trial (spacing on the name) and Chicago Med as a hospital.  Will’s in trouble with the former so to save him that’s who Nat’s primarily gonna have to come clean to, and I’m having a hard time seeing how realistically they wouldn’t want to charge her with the theft.  But where would that leave Nat besides probably in jail and Owen on his own with a sick grandma?  It’s kind of a shit ending for Torrey’s character, and I just can’t see the Med writers going that route.  So I guess my theory is that Sharon steps in and brokers some kind of deal with the drug company where she convinces them not to press charges but to show that Nat is facing consequences she’s fired.  Then she either stays in the city with Owen and just (presumably) finds a new job, or I can even see her also moving out of state as I think her parents live in Seattle?

My other problem is that this kind of doesn’t make sense in the broader context of the show.  The Chicago Med docs are always up to shady shit, Will and Nat most especially, why is now suddenly the time they face consequences for their actions (besides the fact that Torrey is leaving of course).  It just seems mighty convenient to me, and that’s not something I particularly like about character exits like this.

In terms of Nat’s character in general leaving, my feelings are pretty similar to April’s exit.  While I think the exit itself hasn’t been set up great (I much prefer how they’ve set up April’s) I am vaguely sad about Torrey/Nat leaving.  Much like April, Nat was never my favourite character, in fact I swung wildly between eh she’s alright and oh my god I hate this chick for a while there.  But again, like April, season 6 was good for her, and I even got on board with Mancel (rip that relationship) and it’s sad to see her go just when I was starting to like her again after really really not liking the way Manstead ended.  Speaking of, I think even more so than Chexton I fully expected Manstead to get back together by the end of the show, and I even thought they were setting that up by giving them storylines together in the back half of this season (now I just wonder if they wanted to give fans a chance to see them interact again before Torrey left).  So it feels very weird to me that we won’t see them again now after spending seasons thinking of them as an endgame ship.  I can see there being some kind of final romantic moment between them, especially if Nat’s written to move out of state but idk if I would want that or if it would just be rubbing salt in an open would.  That all being said I wish Torrey all the best, I read that she already has a movie gig lined up so that’s awesome for her.

Final Thoughts

Look, the writing on Med has always struck me as kind of repetitive if not weak in general so I can’t really blame either Yaya or Torrey for wanting to move on to new things.  Even if it was the best writing in the world, playing the same character for 6 years is a long time and while there are plenty of actors who like a steady gig there are also plenty more who like the challenge of new characters/stories/sets etc.  And like I said above, they already have new gigs lined up so this is clearly something they both want so I’m at least glad that that allowed the writers to set up somewhat believable exits for them both.  I don’t know if I would say I hope they come back someday, but it seems like they’re certainly going to leave it open for that.  Unless they pull an Ava Bekker-esque last minute death, it seems like they’re both going to leave the show alive and somewhat happy so there’s always a chance they bring them back one day (this feels more likely for April/Yaya then Nat/Torrey but you never know).  All in all definitely not the worst character exits I’ve seen in this franchise, or even this show, yeah I’m looking at you Ava Bekker.

[beakybirdsong]

Sigh okay it's Pokemon News Drop Day so I'm gonna make a quick appearance for initial thoughts. But uhhh they're not great lmao

So if you don't like debbie downers probably don't read this lol

Because I got a bit...edgy

But like...I actually *hate* that we're getting 3 different games and none of them look remotely...good, all for different reasons.

The D/P remakes, from what we've seen so far, just don't excite me in any way. My opinion could change going forward but for right now it looks like it might as well be a remastered port, which is...not really what I've come to expect from Pokemon remakes, even as someone who's generally become a huge pessimist over the years lmao. HGSS added Pokemon following, the Pokathalon, a customizable Safari Zone, team photos, polished bits of existing storyline (like awakening the legendaries or disguising yourself as a rocket), and I think even the Battle Frontier iirc. We got much less in ORAS, but the story was admittedly still polished up good from what it was, including a little post game romp where we could catch Deoxys, the DexNav, which was super fun to play around with, and additionally Mirage Islands, a bunch of minimaps in the region that changed every day, which you essentially could collect from others by playing online or using Streetpass and accessing BuzzNav. It was also the first game to let us really hunt a hoard of legendaries, some of which were hidden in really cool updated areas (lookin at you Sea Mauville).

My point of all this I guess is that if you're going to give us a trailer for DP remakes can you not make it look like...samey and bland lol?? I'm not saying there WONT be any new content, but I am saying that if there isn't then it just...is not gonna be worth the money that a Switch game costs. Especially after Swsh left such a bad taste in my mouth. Like H O N E S T L Y I'd probably be being a lot nicer right now if Swsh was like...a good game lmao but that shit still has bugs and even after two full DLC drops there's nothing to DO (outside of being a crazy person like me and hunting shiny legends in Dynamax Adventures).

NOT TO MENTION HOLY SHIT, the longer time goes on the less forgivable it gets that these characters are sooooo fucking static!!!! The whole *thud* thing worked fine back in the DS era because it was....yknow, the DS era, but it just looks so stupid over a decade later. You can't add any more movement than that?? Barry's static pose in battle is also just completely devoid of personality. I'd honestly be fine with the chibi style if they did something interesting with it. Which is my point ig. Please please pleeeaaassseeee do something interesting with these remakes. Give me a reason not to just play on an emulator, or hell. Dig out an old copy and play on the 3DS, which still supports DS games lmao.

Okay phew ANYWAY.

Idk if it's because I'm coming down off of that hot mess but Pokemon Legends is actually...kind of interesting in concept. Like it takes place in the past, neat. And it's """"open-world,"""" okay neat. And the starter options are remixed, neat (I have a lot of thoughts on that actually and they aren't bad but this isn't the time or place). And they clearly told the tree-renderers to get their fucking act together, but like...that's a good segue into the problem I'm having with it which is that it still just looks empty. And boring?? And I think what I'm getting hung up on is that part of my brain is like ooh cool but there's a much bigger part of my brain that's like "OK but WHY"

It's just so frustrating as a longtime Pokemon fan to look at these two games which are both set in Sinnoh and only seeing wasted potential. Why aren't we getting one really good Sinnoh game that could happen with a little more time and less spread-thin resources? One looks bad because it's static and underwhelming port of an otherwise big beautiful labyrinthine region and the other looks bad because it looks good in places but is otherwise is an empty looking world in the way that the Wild Area was. We could have all the good stuff in one package but why would they do that when they can double up on profits by shipping out two mediocre games?

Speaking of, the nastiest taste in my mouth by far was the fact that we're getting three new games at all. Other parts of first-party Nintendo are making a point to ask for understanding and delay releases because of the pandemic and it seems like Pokemon just isn't letting up. What kind of conditions and crunch are these developers working under while also dealing with the handicap of doing it all remotely?? Do they get to sleep and eat like Jesus fucking Christ. I know there's a studio name I don't recognize helping with the DP remakes but STILL. It's not worth it! It's not worth it! Make a better game later!!! Stop beating your own franchise and the people who make it half to death!! Getting even one new mainline Pokemon game a year is unrealistic and unsustainable and it needs to stop fucking yesterday!! Hell, I would cry tears of joy if we went a year with no new Pokemon news at all! That's how ugly this feels.

In an attempt not to end on a sour note I guess, Snap looks good enough to get. I'm curious to see how many courses there are, but the characters look endearing enough, and by nature of being an on-rails game the world feels alive because it's not an unrealistic ask to make it feel that way (they did it just fine on the N64, even with the technical limitations of the time). I would much prefer mainline Pokemon games veer away from this "open-world" direction they're going in and just focus on making their little segmented areas tighter and more immersive in terms of aesthetic and exploration and maybe like one or two static encounter mons with a bit of personality. But I'm getting carried back into the Mainline Game Bad Thoughts Zone and I don't wanna be there. So. Idk check out that Venusaur doing a cannonball! Instant serotonin. Hoping there will be some fun pokemon interactions you can apple into happening like Surfing Pikachu or the Jigglypuff concert. Snap looks fun. I like fun. This is fun. This is fine!!!!!!!

[magioftheseas]

What do you like about Danganronpa Zero? I like it too, just curious about your answer.

Matsuda. And Ryouko.

In all seriousness I do really like the structure of it and how it’s something that makes a lot more sense and it’s super enriching on a second read a la Madoka. The dual protagonists are fascinating in how they’re written as characters.

Like Ryouko is super ditzy and fixated on Matsuda. And unlike other examples in dgrp where this is super urgh-inducing to have a girl’s character revolve around Dude (y’know ur Nanamiiz, ur Chisas, ur Makiiz), Ryouko’s interesting in how much of a Tragedy her situation actually is. Like yeah, that’s comparable to Peko, but y’know Ryouko really has no power in her situation and her dependence on Matsuda is super fucked up. The scene where she begs Matsuda to let her just forget about him after he gaslights her, which she completely forgets about and brushes off when Matsuda himself is clearly disturbed enough by it to try and apologize is such a striking moment honestly. Like Ryouko’s a really tragic character whose mental condition ISN’T used as something to find scary as it is an aspect she has to work with that people, including those she loves, are keen to take advantage of. She’s the only mentally ill character in dgrp that like...isn’t actually villainous in any way, and the reveal adds a hilarious but also incredibly cruel twist of irony to this.

Matsuda, on the other hand...well for starters, he’s the only intelligent one. But his personality is completely different. He’s not remotely normal or average, but even with Kaede as a comparison, he’s openly cruel and dubious in his actions. Even when you understand his motivations, he’s very complicated. He’s not a heroic character, even from Ryouko’s perspective because we see he’s willing to do some really fucked up shit (both to her and for her). He’s a codependent wreck, which is more in line with dr protags after Naegi, but he doesn’t rely on the other person emotionally because he’s insecure...but more because he needs that person as an excuse to keep going. It’s not just different for the mold, it’s incredibly messy. It’s even more sad because we see that Matsuda *is* capable of getting along with others. When he interacts with Murasame, he clearly wants to help and reassure him, but then... But then...

What a fascinating and fucked up guy! I love him a lot!

As for the other characters, I do like the purposes they serve even if I don’t like them as people. Kamishiro is perverted comic relief but he’s like, actually fucking unhinged due to a severe complex courtesy of his “talent” which makes him a super interesting presence. Madarai...is hilarious. Dr0 does have Kodaka’s shitty sense of humor, but honestly I do like some of the jokes and the ridiculousness of it here since they’re not concentrated to one character nor are there any mascots. Pretty much everyone’s meant to be taken seriously to an extent, but they’re still allowed to go batshit and have fun going batshit.

And again, the characterization that only becomes clear when you know the twist is really good. I especially like Ryouko’s reaction to Naegi which is amazing when you know the truth about her. Unfortunately Mukuro’s characterization is garbage, but y’know, no work is perfect. At least we still have IF. Which Kodaka didn’t write pffffft.

For what it is, dr0 really does do things differently and excitingly. Kodaka may be fucking garbage at writing anime, but he’s got a lot of potential as a light novel writer...light novelist? Idk. The guy definitely has talent despite his stupid shit, and dr0 has some of the most interesting characters in the franchise. Hell, Matsuda might just be his best written character ever. It’s very good! The mystery is fun even when you’re just piecing it together on a second reading, and the characters are so fantastic! Junko flings a bunch of desks off a building at Kirigiri! What’s not to love?

...besides Mukuro’s writing, puh puh.

I would DIE for Matsuda Yasuke. But make no mistake, Ryouko is my precious bby girl too. She deserves so much more focus in fanwork than she gets. Gah. I have a first person wip focused on her that I really need to finish. I’m part of the problem.

[yue-muffin]

Fire Emblem: Genealogy of the Holy War Review

It took months for me to complete, but at least I can finally say that I have played this game. Of all the older Fire Emblem games (pre-3DS era), this is the one that I have wanted to play the most and whose story intrigued me the most. It is, probably, now my favorite game in the franchise, and this review is the really, really long why.

Gameplay/Story Integration

Before I even mention the story, it’s important to address the mechanics that both make this game a wonderful experience of gameplay/story integration...and make it rather annoying, depending on your perspective. This game’s greatest flaws are also its greatest strengths, which makes me glad that it was produced so long ago. I still love modern games, and most have come a long way in making the player experience much less painstaking to an annoying degree, but there is also a lot of charm in older games like Genealogy, where the player is definitely made to suffer a little.

Like all Fire Emblem games, Genealogy is about a war involving dragons, invading nations, and legendary weapons. Unlike most Fire Emblem games, this one went out of its way to make the player feel like they are embarking on a campaign across a continent, spanning multiple years of nonstop fighting and traveling. Most FE games choose to focus on one battle per chapter, with the story segments in between explaining how we progressed from point A to point B. Genealogy chooses instead to make you move your entire frontline across a HUGE map, from castle to castle, crossing distances that span countries.

It’s a unique feature of this game, and I loved it, no matter how annoying it got to lug the army from the south to the north and back down again to defend a previous position from attack. It made you feel actively engaged in the progression of the conflict, made it easy to track your journey back to the beginning and see just how far you traveled. The tedium makes it feel, in the best way a mere video game can, more realistic.

By far one of the weirder and more annoying aspects of the game is the inability for units to trade money and goods between each other. In most games, there is a single pool of money and anyone in the party who purchases an item draws from that fund. In Genealogy, each unit has his/her own money, which cannot be shared with another unless that person is a spouse or the resident thief. This does make some sense because your army is basically a volunteer army built from people of multiple nationalities and affiliations. Many make it clear they’re here to lend a hand, not join you forever, so it makes sense that they don’t all fork over their money for the army to use. Still makes this part of the game annoying if you are micromanaging the army.

It was fairly difficult getting used to this game’s mechanics, which are way, WAY different from any other in the franchise. But I value the attempts made to integrate story with gameplay (another example is the ability to fix/repair broken or damaged weapons for a price, instead of them disappearing into the ether) far more over the frustration it caused me along the way.  

Story

Finally, the actual story! **Spoilers onward**

The story of this game is initially no different from any other Fire Emblem game, and it’s similar to many fantasy stories. A main character’s homeland is invaded by the bad guys, main character fights back and eventually leads a resistance force against the masterminds behind the conflict.

Genealogy turns that story progression on its head in the first half, then plays it straight in the second half. The second half is undoubtedly the weaker of the two, but it’s not bad - just not quite as interesting compared to the absolute curveball the first half throws at you.

I don’t think I’ve ever played a game that had the guts to do what this game does. The closest example is Aerith from FFVII, but at least that was one character, not the entire playable cast. This game would be devastating if it had more room to develop its characters. Honestly, it does a really good job with the limited “screentime” its characters get. Most of them are given reasons for joining that are sensible enough. The game makes sure to lay out the stakes and consequences of the choices the characters make (at least in the first half).

I think one of the reasons I like it so much is that it makes sure you feel the heavy costs of a conflict like the one unfolding in the game. It makes you feel the loss, and not only through the permadeath mechanic. Let’s be real, many players reset if they lose a unit. But even if you reset, or just are good at the game and don’t get anyone killed, the game still makes sure you see the consequences of war.

Actually, it makes you see the consequences of a simple, well-intentioned action. If makes you see how a conflict can quickly snowball out of one man’s control.

The second half of the game is, admittedly, way more typical and less impactful. The world is suffering because of the failure of the first cast to resolve the conflict, so now it’s up to the main cast’s children to finish it.

There are interesting tidbits revealed randomly and at the very end that give the story more life, so I wish they would’ve utilized these parts a little more.

Characters

A lot of people find Sigurd, part 1′s main character, kind of boring. And that’s fair. He’s a typical noble knight, very loyal and an all around good person. And he falls in love at first sight. His ultimate flaw is...well, that he is a bit too trusting or just lacks foresight.

Which is all true of our main character. But he’s also a good example of a tragic hero. His greatest strengths are his nobility and sense of justice. He starts the story only aiming to rescue a childhood friend from the invaders who have kidnapped her. But those are the same things that lead him far from home, on a campaign that snowballs out of his control and soon comes to look very much like a man working on conquering the continent, putting him in conflict with the major power on said continent who doesn’t like what he sees is happening.

He also falls into a love that will lead to disaster, so. Very tragic hero-y of him.

But I lowkey love Sigurd. I love that moment he looks back and realizes oh shit, he’s way in over his head but he literally can’t turn back anymore. The only way out is forward.

I think Seliph, Sigurd’s son, is largely forgettable. The revelation at the end, and implication that he hasn’t truly chosen his own path this whole time but was led down it was a plot point I wish was expanded on, as well as his own feelings about it all. But it kind of fits that he...doesn’t have much substance to him. In the end, he really feels like a pawn, which makes that lofty title he later gains feel all the stranger in retrospect.

This game is good at making its characters feel small in the larger setting of its world. I appreciate that. 

It has a large and largely forgettable cast of named enemies and npcs. I think it helps make the world feel lived in, rather than an empty place run by like 20 people. idk, I’d rather the world feel more realistic than every named character standing out like a sore thumb. 

The game gives you a lot of units, some more memorable than others. This is where a remake could really help flesh out these characters, but I felt that in most cases their motivations and personalities were realistic and believable. The downside, on the gameplay side, is that mounted units really do dominate this game. The few units on foot that stand out are the ones with outstanding performance in one aspect or another, while the rest just fall by the wayside since it can be so difficult to get them to join the action.

However, I am a boring person who loves mounted units, so. I was very happy.

Overall

As you can tell, I loved this game. It can be a bit janky in some aspects, but it’s definitely one of the more adventurous of FE games (seeing as it came out before the series really settled on a “style”). It’s not a game for beginners, I would say, given its somewhat odd mechanics that aren’t explained very well from the outset. The pacing can be feel rather long and arduous, which is on purpose, but also keeping in mind that you can save at the start of every turn - it wasn’t designed for you to bang out a chapter in a single sitting but come back to chip away at your progress.

[ouyangzizhensdad]

one of the weirdest things in this fandom for me is people claiming that characters “deserve better”, like completely seriously, as if they’re real people that mxtx personally murdered or something. i get that people connect with characters and everything, i do too, but at the end of the day they’re just constructs in a story? idk it’s strange to me to act like the author owes characters or the audience anything

Hi anon,

I’m sort of on the middle with this one. Especially with things like franchises and tv series, where there might not have a clear arc already decided for the different characters or for where the series will go, we can encounter characters who have been underutilised or who have been treated dirty by the creators (in western tv shows that seems to happen with disturbing regularity to characters of color or queer characters). As well, works of fiction may also make the characters do things that seem completely incoherent with their characterisation, character growth or their motivations, which can make you feel like the character deserved to be treated better by the creatives. And this can be pretty frustrating not only because you like a character, but because the work of fiction seems to be lesser for not having utilised this character’s potential or for having ruined their stories. Generally, these criticisms will be able to pinpoint how that character is underutilised compared to other characters, how the character’s potential that was set up by the story were never explored or resolved or how the fate of the character ultimately contradicts what was set up at the beginning and throughout the story without providing the audience/reader a sense of diegetic logic for that contradictory fate. It is never about saying, in isolation, that “character died” or that “character suffered” or that “character is a minor character” although it can be things along the lines of “this is the only character who died so soon after being introduced, most other characters survived for at least a season and they just so happened to not be white how weird” or “while most characters are made to suffer, this is the only character that the audience is invited to be a voyeur to long, drawn-out torture sessions that are disturbingly framed in an almost erotic manner”. “Bad things happen to character” on its own is not sufficient because, uh, it’s fiction and fiction requires a minimal amount of conflict and tension which means that characters suffer and die all the time.

I agree with you that, a lot of time, when people clamour that a character “deserves better” all they mean is that nothing bad should have happened to them and that they would have gotten their own version of a happily ever after. And there is inherently nothing wrong with that sentiment: growing to care for a character is one of the ways that fiction can be effective, that it can move us. We’re supposed (if all goes well!) to come to care for the fate of at least some of the characters, whether it is a comedy or a tragedy. It’s also totally normal to see a minor character, enjoy them, and wish to see more of them even if in that particular story they were only there to play a minor role. Both of these things are part of what draws people to transformative works. It’s all fine! That being said, it starts to annoy me when people use these things as baseless attacks against a creative, especially when they display a profound misunderstanding of how storytelling and characters-as-constructs work in the process, or sometimes simply a profound misunderstanding of the story they are seeking to criticise. It’s one of the reason I wrote my MianMian meta because so many people, based only on the fact that MianMian appeared more often in the story, argued that CQL had treated her character better when, if you stop to think about it--about who the character is, what she means, what role she plays in the story--a lot more care was put into her character in MDZS even if her appearances were fewer (hell, even her agency is indirectly better since MDZS didn’t include a scene where she meets Wangxian before they rush to a scene of danger but she stays behind because gets told by Hanguang-jun to stand back in her home and protect her daughter--CQL really did invent feminism). In a way, I find it difficult to take seriously the claim that a “character deserved better” when it comes from someone who didn’t even do the work of understanding the character and its place in the story to begin with. 

I’m not saying that people need to have complete deference to the canon or the creatives that gave us a work, but I think it is a simple courtesy to not get incensed at a creative just because some of their characters are *gasp* minor characters, or to at least give them the benefit of the doubt when you feel a death is “pointless”: mayhaps check once more whether there could have been something about the story you missed or misunderstood. Also to understand that just because a character is their little cinnamon roll or whatever that they might not be portrayed that way in the narrative and as a result might not be given a perfect, hallmark-card happy ending. In other words, you can write as many fics about JYL staying alive or JYL being a “bamf” (because a female character only has value that way apparently) or about JC ending up the most happy and fulfilled and recognised person with everything he could possibly want (since he sooooo earned it in the narrative by growing and learning from his mistakes and atoning for them....), but maybe reconsider having the summary be: “Character A deserved so much better, so I’m taking shit into my own hands, fuck MXTX”. If only for the fact that it is very cringe.

[surveys-at-your-service]

Survey #332

i’m even more tired than before to try and think up song lyrics, i’m pasting from Word and then fucking off to bed lmao.

What was the last video message you received on your phone? I think it was a clip of Doris (Sara's beardie) eating and just being her perfect self? Was your last birthday cake homemade or store bought? Store-bought. One thing you miss about middle school? Shit, nothing. Middle school was the worst. Do you have any shirts signed by famous people? No. Have you ever entered an art competition? Yes. Would you ever pierce yourself? No. I am very much about having a professional do your body mods/art. Plus, I have tremors in my hands. Do you live in a safe neighbourhood? Supposedly. We haven't lived here nearly long enough to know. What is the last thing you did that shocked someone? /shrug Do you often find yourself questioning your future? Only always. Have you ever been for a ride in the back of a truck? Yeah. Do you like your license photo? I hate my permit picture. Are you into superheroes? Who’s your favorite? Not very, but I like 'em enough. I always say my favorite is Deadpool, but I know he's technically an anti-hero, but whatever. If you don't include him, uhhhh... maybe Spiderman. Have you started watching any new TV shows recently? No. Have you ever been able pet a normally wild animal, like a tiger or dolphin? No. :( At least, not to my recollection. Have you ever eaten snow? Yeah. There's actually a winter treat 'round here that you make with snow and sugar called snow cream. Good stuff. What is the messiest area in your home? Right now, the spare room/my wanna-be "office." What’s your favorite computer game genre? Still horror, like video games. Do you have any exes your parents never liked? No. Have you received financial help from your parents in the past 5 years? I'm completely financially dependent on them still. Are you a fast or a slow eater? I eat like, stupid fast, but without being messy. People *cough*Mom*cough* will absolutely point it out, but I seriously can't help it. Making a conscious effort to eat slow feels way too weird. What was the last thing you purchased from a small local business? I don't know. Is there anyone in your family/household whom you frequently argue with? No. Have you ever used chewing tobacco? Ew, no. Tell me what's on your mind? I've been considering yet again reaching out to some tattoo parlors and asking if they're open to hiring someone to handle the front desk and take care of business besides actually performing piercing and tattooing, given my tremors. My group therapy has kinda been encouraging me to use the possibility for social exposure, and besides, I'm very comfortable in the environment and just general aura of tat parlors. I'm sure I'd have to answer the phone, handle money, and obviously talk to costumers, but I know and accept that. I've been at such a stagnant point with my social anxiety in particular that I have to start pushing back harder, and doing this I feel would be one of the most relaxed, social job positions I can hopefully handle. I don't dare to even try this though until I get vaccinated to protect my immunocompromised mom. Writing this all out has actually been pretty encouraging about this idea... Do you wish you never dated someone you dated? Yeah, Tyler. It was such a "I'm lonely and he was nice in high school, so we'll try it" situation. I got nothing from it. Are you scared of growing old alone? Pretty badly. What are you listening to right now? I'm listening to/semi-watching John Wolfe play the remaster of Resident Evil 2. What breed was the last dog you saw? He was a German shepherd. Would you ever go swimming during a thunderstorm? No. Any time a thunderstorm was brewing and I was in the pool, I'd always get out. What is the next concert you will attend? Mom and I plan to see Ozzy when/if he reschedules his tour after he had to cancel with his Parkinson's diagnosis. What was the name of the last pet of yours that died? Teddy. :/ What's the highest science class you have taken? I don't know, actually. What makes you squeal like a school girl? No shame, seeing Mark and Amy do something cute together actually does this, lmao. What’s your favorite symbol? (i.e. the pentagram, the cross, etc.) Do fictional ones count? Because in that case, the Halo of the Sun from the Silent Hill franchise. I'm getting it tattooed somewhere at some point, I'm thinking the left side of my neck. I'm either gonna fashion it in a way where it looks branded on or carved into me. Have you ever been on anti depressants? For all of my pre-teen, teen, and some of my adult life. Apparently, I've only had one truly educated psychiatrist out of no less than a dozen I'd seen, because he fixed me right up. He taught me that those who suffer from bipolarity should avoid anti-depressants; they ramp up your bipolar symptoms. Instead, mood stabilizers are favorable. And what do you know, after I was prescribed a stabilizer and a catalyst for that medication, my depression decreased dramatically and became handleable. Have you ever starved yourself? Kinda. What’s the stupidest name you’ve ever given a pet? I had a guinea pig named Harry Potter. For no particular reason lmao. I'm not even a Harry Potter fan. Do you have nice legs? God no. Do you like fedoras? Okay so I know I am in the strong minority, but I actually do, haha. What is your favorite food group? Carbs. @_@ Have you ever got told that you should be a model? No, but one of the most flattering indirect compliments I've ever gotten was being mistaken for one. Jason's phone wallpaper was one of my favorite pictures of myself with my first snake, and someone asked him if I was a model. ;v;' What song is in a language you don’t speak, but you love it anyway? "Donaukinder" by Rammstein is one of my faves. Who’s a villain you sympathize with and why? SOBS Darkiplier bc his origins are so damn tragic and unfair. What book do you think should be directed as a film? Was The Giver ever made into one? I don't remember that book well, but I do recall it being absolutely beautiful. Have you ever found a stranger’s note somewhere? If so, what did it say? No. Have you ever edited Wikipedia? No. Have you ever edited any other wiki? Yeah. I have thousands on the Silent Hill wiki, where I'm one of the admins. I'm also a content moderator at the Team Ico (Shadow of the Colossus devs) one. Every now and again I used to go on the meerkats wiki as well, where I mainly fixed the fucking nightmarish grammar. Very briefly, I edited at the Dragons of Atlantis wiki as well. Do you get scared when you know some virus or sickness is being passed? Not very, but of course I still acknowledge the risk and am more conscious of hand washing and stuff. What popular social media platforms AREN’T you on? Snapchat, I don't actually use my Twitter, I don't have a personal Instagram... There may be more, idk. Is TikTok a "social media platform?" Because I don't have that, either. What was the name of the first porcelien doll you got? Never had one, given I was afraid of dolls as a kid. What’s your favorite Paramore song? "Decode." Would you be happy with a life without romance? To be entirely honest, I'd feel like I was missing something. Was your childhood happy? Mostly. What fundamentally matters do you? Love, kindness, peace, all that gooey stuff. Is true world peace ever possible? As much as I hate to admit it, I don't think so. The human population is far too big to come to a unanimous agreement on anything. Do you hold yourself to higher standards than you hold others? Yeah. Would you ever own a pet black widow spider? No. I'm getting more into the idea of owning invertebrates (I jabber enough about wanting tarantulas, and there are others, like mantises, I'm interested in as pets), but black widows, I'm not into the idea of having. Too venomous for me to be comfortable risking. If you have a job, what is the longest shift that you've worked? N/A Do you know all of the words to "Bohemian Rhapsody?" FUCK YES I DO. ^ Do you sing it with all of the different voices? sho nuff Do you own more than one copy of a certain book? No. Do you like interpreting poetry or just reading it for fun? Both. I love symbolism, so I get joy out of digging for subtle meanings in poems. Do you have a favorite Dr. Suess book? Yeah, it was always Green Eggs and Ham. Do you watch The Walking Dead? If so, favorite character? Not the show, but I've watched let's plays of the games, haha. In which case Clementine is inarguably one of the best female characters in a video game universe. Who has/had the most mature romantic relationship you’ve seen with your own eyes? Uhhh. I mean I never saw them much, but probably my late grandmother and her last husband. He was fucking incredible to her, and Grammy adored him as well. They helped each other so much and just obviously had the purest love between them. When was the last time you got something for free (legally)? What was it & have you enjoyed it so far? Lmao do balls in Pokemon GO count? Their occasional free boxes are the reason I can play the game because PokeStops are essentially non-existent here, so yes. What is the one fruit you can’t stand to eat? How about vegetable? The first one that came to me were oranges. I enjoy orange juice, but I just caaaaannot with the white veiny shit that you can't totally get off when peeling it. Without that, I might actually enjoy them, but idk. As for vegetable, asparagus is absolutely abhorrent. When’s the last time you actually recited the pledge? If you aren’t American, do/did you have anything similar in your country that you do during a time at school? Probably not since high school. Last person you shared food with? Ummm I have no idea. It's really just Mom and me here and we eat our own stuff. What was the last song you heard for the first time and enjoyed? I believe it waaas... "Down In The Park" by Marilyn Manson, maybe. If your life was a TV show, what would be the theme song? My inner high school emo just screamed "All Signs Point to Lauderdale" by AD2R. Who are some of your favorite female fictional characters, and why? Gahdamn, there's a lot. I don't feel like going through a mental list in my head and then describing why. A character (in anything) you wish hadn’t been killed off? Vol'jin; I think the entire WoW fanbase will forever be pissed about it. It was THE most "lul we dunno what 2 do w/ him anymore, let's let a totally random, unnamed, unimportant demon kill him" like what the fuck, Blizz. Most of his "oomph" was in the book, and I just really wish they'd done so much more with him in the game. Has anything “cute” happened in the past week? Off the top of me noggin, no. When did you last say “I love you”? Did you mean it? Yesterday to Sara. OF course I did. Is there someone who pops into your mind at random times? Hi, PTSD, how are ya. Have you ever slept all day? Essentially. When I was on a larger dose of my anxiety med, I physically couldn't stay up for barely even five minutes, and when I'd lie back down, boom, I was OUT. I stayed on that dosage for I think just that one day, it was so bad. Can you have kids? Well, I have a functioning menstrual cycle, so I would assume so. Doesn't mean I will, though. What colors of mascara have you worn on your lashes? Only black. Do you like eating sour things? Hell yeah, I love sour stuff, candy in particular. Do you like pickles? fuuuuck yeah Did you ever have a really close friend move away? Yeah, in elementary school. I feel bad I can't remember her name at the moment... What's the most creative thing you've ever done? I mean, I guess the things I've written in RP. What's the most creative thing someone has done for you? For me? I don't really know. Do you like to watch ghost-hunting shows? Sure, they're some of my favorites. What’s something you’d like to be better at? Social interaction. Have you ever stayed up to talk to someone who was sad? Yeah. Do you think you would make a good parent? No. I know I wouldn't. The only time I ever wanted kids was with Jason, and honestly, I really hope I don't end up with a man because I never want to deal with that urge again and make a mistake. I'm just in no way emotionally fit to be a mother. How many best friends do you have? Just one. What do you cry over the most? My PTSD, honestly. I never sob about it anymore, just shed some tears. What language did/do you take in high school? Latin for one semester, then all four available for German. Which sports do you follow? None. Who was the last person you talked about marriage or having kids with? About marriage, Sara. Kids, the subject was lightly touched upon with Girt, though "with" was never a part of it, but obviously implied seeing as we were dating with long-term in mind. Have you ever been in a house fire? No, thankfully. Have you ever made out for one straight hour? them is rookie numbers Are you any good at remembering phone numbers? No. I literally don't even know my own, nor my mother's. I need to fix that. Who is your best friend of the opposite sex? Girt. Do you have a bookshelf? If so, just one or how many? No. If I gave you twenty bucks what would you do with it? Save it to go towards Venus' terrarium. Is there a movie from your childhood that you still watch today? Well of course! I'm unashamed to watch any "kids" movie I enjoy, like Disney ones. Most "kids" movies tend to be better than those intended for adults, it seems... Are you afraid of mice? Oh no, I adore mice and I think had a pair as pets before I got rats. What type of souvenir do you usually purchase when on vacation? I can't really answer this; I haven't gone on nearly enough vacations to develop a theme. I can say confidently though it'd probably be something small. If you could see any musical on Broadway right now, what would it be? I don't enjoy musicals. Have you ever watched Doctor Who? One or two with Sara, yes. I know we at least watched the weeping angels episode. If you read, which book or series did you enjoy most as a child? Warriors by S.E. Hinton. Sometimes I wanna get back into them, but I am YEARS behind and more into Wings of Fire anyway, so. I don't read nearly enough for both. How do you get rid of your hiccups? Literally no trick seems to work for me. I just suffer lmao.