#can you tell I love subversion of that story????

[burstbubbbles]

SEASON 3

- okay the camping trip + camino arc is like 3 naruto arcs in one (kota hating heroes and getting saved by deku = that kid from the land of the mist hating heroes and getting saved by naruto, a troop of some bad guys taking bakugo, the deuteragonist, because they want him to join their league = orochimaru's lackeys taking sasuke away, the fact that they had a competition and some exams in order to be able to go to the camping trip = the different parts of the chuunin exams).

- here's the thing i've noticed, before anyone says im comparing bnha to naruto too much: i think horikoshi uses a lot of popular shonnen tropes and pays a bunch of homages to other shonnen manga on purpose. what purpose? the subversion of expectations. here's the thing, if you're a new watcher who has already watched a bunch of different shonnen animes (like me with naruto), when you see bakugo being taken by the league, even if you don't immediately think of sasuke, you still might guess that now bakugo is going to turn evil, because that's how the story usually goes. instead, horikoshi reminds us bakugo isn't sasuke or your average shonnen deuteragonist, and reestablishes the core values of this character. the reason i draw so many parallels to naruto is because it's the shonnen anime im most familiar with, but im sure a one-piece/hxh/bleach/dgbz/etc fan could do the exact same thing.

- tl;dr: what im trying to say is that the ways in which horikoshi draws inspiration from other shonnen anime isn't lazy; it's not that he doesn't have ideas so he copies. i think he's actually very clever in the way he handles all those influences. thank you for coming to my ted talk.

- anyway back to plot

- i can't believe deku's mom gets hate for literally being a good parent. of course she's not going to want her son at UA after everything she's seen. not all anime single mothers can be mito-san (hxh), and they don't need to be.

- deku's arms are like. about to die. and im not saying that this is never brought up again, but i feel like in the later seasons he didn't exactly hold back. although he's literally trying to come up with a technique so that he can use them again, so idk. iida's hand injury hasn't really been brought up yet either.

- i forgot to mention this before, but shigaraki uses a lot of videogame analogies (he calls big heroes "final bosses", for example) in the same way that deku uses a lot of comic book analogies (if this was a comic book, he would be the protagonist" said by deku about todoroki).

- but it's interesting because, in shigaraki, i think this is used to showcase his immaturity: we associate videogames to kids, and so by using these sort of analogies the author reinforces the childish characterization of the antagonist.

- deku, on the other hand, uses comic book analogies for the sake of meta jokes with the audience (saying todoroki would be the protagonist when he's actually the protagonist of his comic book), which goes back to all the different homages and references horikoshi does to other shonnen manga and anime. i think bnha doesn't get enough credit for how meta it is.

- i like how you can tell bakugo is changing during the provisional license exam, not just in regards to his relationship with deku but also with other classmates. like when he's about to be turned into a weird meat-like thing (some guy's quirk) he tosses his weapon to kaminari because he's confident that kaminari will know how to use it.

- lmao deku vs. kacchan pt 2 is really bakugo going "hey btw im traumatized due to recent events but mostly i've always been severely insecure and that's why i bullied you so why did you always follow me?" and deku replying "bitch bffr i hate you but you're like the coolest guy i know"

- i know i've said it a lot but i really love the foil-like relationship of bkdk and how it's written.

- something idk if i have mentioned at this point or not is that i love uraraka and tsuyu. they're my favorite classmate-characters. but honestly, i appreciate much more the effort that the author put into writing each individual character and making them consistent in their personalities, at least up until the end of the third season.

things im noticing as i rewatch bnha, an ongoing thread:

SEASON 1

- deku really was such a nerd lmao he's just like me fr (like i KNEW but i didn't remember how much i could relate to it. oops.)

- it's also interesting that he always fights back against bakugo and calls him an idiot a lot. idk why (probably because of fandom characterization) i remembered early-seasons deku as a lot more innocent and scared of bakugo. like, here's the thing, deku is scared of pretty much everything at the start because he's shy/anxious. he gets nervous talking to most of his classmates (especially, but not only, girls) when he first meets them and starts trembling when he gets elected as class president before handing the role to iida. so basically, his anxiety isn't reserved to bakugo like i remembered – if anything, he seems to get over his fear of getting bullied by him pretty quickly once he realizes he can fight back.

- kaminari tried to ask uraraka out in their first or second day of school and she was like "uhhh i like to eat... uhh... WAIT DEKU CAME BACK FROM THE NURSE'S OFFICE" lol i really didn't remember that

- bakugo's insecurity was always there. as you're reading this you might be thinking i first watched mha with my eyes closed or sth, and you're not very far from the truth. here's the thing, i first watched it when i was like 14-15, so all i knew back then was that bakugo was insufferable and i didn't think further than that. of course, he ended up becoming one of my favorite bnha characters after reading all of the manga, but it's cool to realize his character arc was foreshadowed from the beginning and didn't just magically start around season 3.

- but yeah, anyway, bakugo's insecurity and his envy over deku's natural noble nature was always there, since season 1. also, deku's real admiration over bakugo was also there. like, going back to my other point, deku wasn't just Not Overly Scared of bakugo, he actually looked up to him despite knowing he was deeply flawed. tbh they were always a bit crazy about each other.

- uraraka is so funny i love her.

- all of class 1A was so chaotic good coded

- like they collectively made fun of bakugo on the bus to USJ for being rude lol. they really bonded over their shared dislike for the guy.

- bakugo gets fucking HUMBLED all of s1. i would also be irrationally angry ngl.

- the dialogues in the first season sometimes are so unnatural for the sake of exposition, like all might telling recovery girl: "do you mind not talking so loudly ab OFA? only you, a close friend, the principal, and midoriya know about OFA. but most professors and some pro heroes also know about my condition and not being able to fight for more than 3 hours a day" like WHO TALKS LIKE THAT ??!1?1?

- deku had to go to recovery girl's office a total of 4 times (if i counted correctly) for broken limbs of fingers in HIS FIRST WEEK of school. which is funnier considering no one else from class 1A had to go even once.

- damn shigaraki was a skinny legend before he got OP

- aizawa did not react at all when he first saw kurogiri (about the shirakumo thing). that was surprising.

- also. AIZAWA IS SO BADASS?? like yes i knew he was badass from the later seasons, but i genuinely didn't remember his first fighting sequence at USJ where he single-handedly fights like at least 20 villains.

- i had also forgotten that shigaraki calls eraserhead "really cool" so early on in the anime, i thought it was a later-seasons thing.

- this is really obvious but i had forgotten the all might theme's resemblance to superman's theme. it's such a cool little detail tho!

- uraraka and deku definitely were crushing on each other when they first met, but i think it's nice that they ended up developing a really strong friendship instead of getting together after hori didn't consistently develop them romantically. it also makes a lot more sense narratively, like why would we care who deku ends up with at the end of his first year of UA when the story actually ends 8 years after that, and it's very unlikely that you marry the same person you started dating when you were 15. idk, i liked that. i like that you can have two characters who maybe have a crush on each other but can't focus on that due to Circumstances and eventually move on and become good friends. it's a win for the platonic department!

- the animation was kinda bad in the first season 😭 but it's understandable and i had fun watching it regardless.

okay im done with s1 tune in for s2 !!

[mossmx]

love this movie, I mantain the idea was perfect, ecco una dimostrazione del mio amore:

[pandoratheprocrasticreator]

no by all means keep judging cartoon villains solely by if they get redeemed in the end. i know some of us like to talk about other stuff like characterization or entertainment value or nuance as something that makes a good villain. but i think the only thing that actually matters is if the villain ends up on good terms with the protagonist at the end. all the Good TM cartoons with Good TM creators make the villains die a Horrible Death for being Abusers or whatever. and all the Bad TM cartoons with Bad TM creators Forgive Fascists by not making them get publicly executed by the 14 year old protagonist in front of the 8 year old target demographic.

i mean im so glad that more cartoons nowadays are subverting the psyop to support fascists that a few queer artists and queer shows definitely invented in 2017. there are so many popular cartoons doing that. it's almost like there are more properties killing their villains now and in the past than there ever were of properties that didn't do this. and it's almost like whether the villain gets redeemed at the end is more about the context of the story and its themes leading up to a narratively sound decision.

but you know. a few queer shows made by trans ppl were popular and they didn't kill their fascists and even had the gall to make them nuanced while also looking into the harm they did. guess it's trendy to forgive your abusers now because like two cartoons said so. out of like 40 other similarly high profile works that just straight up hit their villains with a bus or smth. by all means. keep heaping praise onto that one show about how they "let their villain just be evil" instead of talking about anything more interesting. that's so subversive, everyone's doing it!

[o4o41]

it would have been good if Cindrella was more outspoken. And call out her family on not feeling **regretful and apologizing** after insults, ridicule and abuse.

[antigonick]

Wait why do you hate mike flannigan? Just curious

Oh boy...

Because I think he sucks. I think he's a marketing-thirstrap who likes to use titles of horror classics to get some attention on his work, but he strips them of everything that makes them them, and fills it back up with vapid, unnuanced, trashy surface level bullshit. I love creative and liberal adaptation, but his "adaptations" are title and cultural-aura thefts to sell the absolute nothingness of his clumsy, clunky, tell-but-never-show stories. He's performative as hell (empty representation / tokenisation, apparently unaware discrimination glorified as awareness, empty rotating of cast and archetypes with no exploration whatsoever, empty gesturing at political/ social/ philosophical ideas with no actual significance or values).

Most important of all for the topic (since this was about horror), he's hailed as a master of horror when he's just so, so, so terribly bad at it. To me, he literally works AGAINST what horror is about—its complexity, its subversiveness. What he does is making palatable what should unsettle us, what should make us think further than ourselves. There's something fundamentally political and philosophical about horror; capitalising on its simplification-for-consumption is symptomatic of something uglier and culturally-spreading that I HATE. Flanagan is a perfect agent of that. Everything has to be streamlined, simplified, dichotomised and flattened. If you can't deal with hidden messages, with nuance and mystery, with subtext, with blurring boundaries to the point of discomfort to yourSELF, you can't do horror. Flanagan leaves nothing to mystery, to ugliness, to the unexplained or the many-explained, to rawness or openness and layers (for someone who pretends to adapt Shirley Jackson and Henry James, what a joke).

All in all, he just shoves his boring, expected, chain-made story beats down your throat, doesn't even bother with building a story beyond what he puts on screen (think even back to Hush, the complete lack of actual motivation from the aggressor, how fucking lazy can character writing be?). Then he razzle-dazzles that with a bit of gratuitous (and undeserved) shock-value on top to cover up his tracks, which just makes it more insulting. Tear-jerkers and animal death for success value? Yeah, as classy as everything else, I guess.

I feel like I've rambled a lot in this... okay enough bye

[four-unwell-lesbians]

Thinking about the way dungeon meshi does queer horror. Using horror to tell queer stories is already subversive, but dungeon meshi subverts it even more

Normal queer horror is like. A monsterous desire and immortal love of something isolated/hated and the uncontrollable but suppressed need to consume someone to live and they only die if you break/pierce their heart. its great.

In dungeon meshi, the group is STARVING. they do things the way they're expected to and they're so deprived that eventually, one of them is consumed by that monsterous desire.

Then when Falin becomes a monster, she doesn't eat Marcille because she doesn't NEED to, Marcille already offered herself up as part of Falin by mixing her own blood with the dragon's for the resurrection.

Also Marcille is a monster too!! She doesn't need to be turned by Falin. She's a 'witch' doing black magic for one but she's also very vampiric

Her name is super vampirey especially given one of the translation spellings was Marcilla, an annogram of Carmilla*. And Marcille is very similar to Marceline from Adventure Time so it's a name with heavy connotations to me. Also her staff is Ambrosia which means immortal.

*ps Carmilla is the original modern vampire that inspired Dracula and also a lesbian. she used annagrams of her name (Marcilla, Mircalla, Millarca) to disguise herself across hundreds of years.

Marcille is like. a vampire in that death is a big part of her theme. She can breathe that immortality into someone else using her resurrection black magic and death is a huge part of her character. She wants them to live as long as she does. To make them immortal. Like. Like a vampire. Vampires which are unholy when her love interest is a cleric.

But once again this is subverted!! she doesn't 'turn' Falin, she makes her undead by giving her own blood instead of taking Falin's. Falin becomes a monster not because she's attacked or turned, but because her DNA, something INHERENT about her is now intertwined with the monster. so a god-like figure merges them. Then the only way to free her from that frenzy and grant her autonomy again is to finally consume her. something inherently lesbian about all that i think idk about you

[theravenanarchy]

It does kinda make me sad how little people think of Leander, I know why. Most "obsessive lover" types are usually shown thru a very specific lens of them "just being crazy" or weird. Obviously that's not how it is in reality (or dare I say GOOD writing), people have reasons for acting they way they do, and these types of characters have only recently started receiving this type of humanization in their stories.

For Leander I have a very strong suspicion that his story will breakdown a lot of these established tropes.

"This character wants you more than anything" becomes "this character wants to be wanted more than anything"

He wants to be your hero, the knight in shining armour you ride off into the sunset with, where everything will be okay forever. To want the same thing being each other, to know you will never hurt or leave each other, to know not even death can separate you.

More than likely because the way he loves has chased others away, he may believe someone can't love him the same way unless he orchestrates everything.

I'd also like to add that all the obsessive lover/yandere stuff comes from people hyper analyzing and patholicizing two interactions with a character that has a very good public reputation, is an established Robinhood type that left his higher class life, who is well educated but still likes to party, also is living thru an apocalypse. It is entirely possible all the spooky shit the devs are showing about him is either over the top or subversive.

Tldr: STOP BEING MEAN TO MY MAN >:( HE'S JUST A BABYGIRL THAT MAY OR MAY NOT KNOW NECROMANCY CAUSE HE CAN...ALSO HE MAY HAVE MOMMY ISSUES but I'll tell you about that theory another day.

[zaebeecee]

I see so much RadioStatic backstory of “they were friends but Alastor broke Vox’s heart” but I would like you to consider:

Vox, soon after his death and feeling lost and disconnected, seeking out other sinners with an interest in the only connecting point he has to others, media.

And, in doing so, he goes out of his way to make the acquaintance of the Radio Demon, the only overlord who seems to have the same passion for entertainment that Vox does himself.

And Alastor does not get approached by anyone, because everyone is terrified of him; his only real connection since his own death has been Rosie, and they bonded over cannibalism, not the art of entertainment.

But Vox wants to make his acquaintance, Vox wants to talk shop with him, and Alastor finally has someone with whom he can discuss storytelling and evolutions in broadcasting technology, someone he can stay up with all night who appreciates rye as much as he does and who listens to his infodumping with real rapt attention and who does his own infodumping in a way that Alastor finds compelling.

Alastor tells Vox all about what it was like during the birth and rise of radio and what it was like to run a radio program back during a time when it was the hot new thing.

And Vox teaches Alastor about television, and about writing serialized scripts meant to be seen and heard, and about filming and audio recording and costuming and set design.

And Alastor is subversive and forward-thinking, and he loves television; he loves seeing what beautiful and visual things can be done with the serialized stories he always loved writing for his radio program.

Vox is someone Alastor readily calls his friend.

But Vox is a capitalist, above all else, willing to throw away his artistic integrity and smother his own creativity in his eagerness to chase whatever is new because it is new, and Alastor watches that bright spark that had drawn him to Vox become buried under the weight of corporate greed.

And when Vox asks Alastor to join him, Alastor says no, because the Vox who asked for his partnership was not the same man that Alastor sat up all night with so many years, he was not the same man that Alastor wrote ridiculous scripts with, he was not the same man who approached Alastor without a hint of fear flickering on his screen and introduced himself with a cautious smile and a sincere compliment for his last broadcast.

Alastor says no, because this man is not his Vox; this man, instead, murdered his Vox and is wearing his skin like a grotesque costume.

Alastor says he hates television, because television reminds him of a time he almost permitted himself vulnerability, and can’t admit that it destroyed him.

What if, instead, Vox was the one who broke Alastor’s heart?

[nagy-bari]

on the appeal of Chilchuck Tims

short spoilery rambles on why i zero-ed in on this old man instantly and how i realized the patterns he gets to people.

subversion of the trope: oh they just look like a child while actually they are XXXX years old and--- yes. he's older than he looks, with a good 10 years and it's a boyman design now instead of a loli girl.

BUT wait there's more!

he's older than he looks and he has the experience of his actual age: that man is a father. of 3. the story he's in is his midlife crisis. he's planning on retiring from dungeering after this, he asked for payment UPFRONT (and got it) he has insane (for other characters, but really he's just normal, tries to be normal) work ethics - he got paid, he does the job, he's good at the job, he knows his own worth, strength and limits.

This Man Is Self Aware. He knows his weakness, the job's weakness (how adventure parties slip up and why) he knows he's seen as a bit closed up and he's OKAY WITH THIS.

what he's not okay with? not knowing if a party member is a cannibal or not when they are on this insane survival trip and he's the cook. what does he do?

he knows how to communicate and how much to disclose. Rare one, i know. With the party having an average gossip queen, an autistic foodie, and mysterious chef he knows when to take the lead so they can still function.

so to round it up:

Subversion of the 'looks young actually old', closed up and grumpy rouge who's motto is 'never trust those who don't ask for payment' and has the 'it's called personal life for a reason' philosophy rooted into their blood. Good? good.

BUT WAIT THERE'S MORE

because he knows he and all halffoots look young to others he actually started up a guild so they can re-enforce their rights as adults and independent people, so they are taken seriously and they can work against bad stereotypes and all.

we see his struggle through volumes, how hard it is for others to finally understand that a short live-spam people is actually just as old and mature as a long live-spam would be, it's mostly the numbers that are different.

we can learn with the other character to take him seriously, to accept the differences.

so he has good work ethic, looks out for his people, has plans for his and other's future, CARES for the future in general and ACTS so it will be a reality- rather sooner than later.

so he's charismatic and lovable while still being the usual tsundere setup for any joke.

BUT WAIT

THERE'S MORE

we first learned that he's actually is an adult (middle aged in half-foot culture)

is an estranged husband

who was left by his wife

cause he cheated-

BUT WAIT ACTUALLY NO

HE LIES ABOUT THE CHEATING!

cause he wants to keep his work persona intact, and it fits more if he says he cheated, cause then people won't BOTHER him with further details

BUT HE DIDN'T

he just went home one day and the wife was gone, with a note

and we learn ALL of this through a subversion of a UNICORN BICORN TALE - a feckin roll up of the whole pure maiden true virtue stuff - and we find out cause the feckin monster SNEERS AT HIM for lying then bites him.

so he's really soft with all the hidden 'better keep to yourself' and don't jump to conclusions cause that only fuels drama, which will hinder your work. but he was clearly hurt by this.

so the subversion here? we are Marcille. the whole fandom is Marcille. we are just as nosy and gossipy as her and it's a tiny little metanarrative joke and i love it, it's wonderful writing and it keeps you wanting more and more, you want this grumpy middle aged father to finally tell you his life story, the mundane little things, to see him brag about his children and all cause he's so goshdarn professional about everything.

but is it subversion at all?

wait...

there's more.

while we get actual introduction to his daughters we truly never seen anything about his wife.

it reaches the hights of Mrs. Columbo level of secrecy and i love it.

but! we know:

they were childhood friends

married when Chilchuck was 13 (almost full grown adult for their culture) and had the twins(?)

left their village at 14

3rd daughter at 15

he started adventuring at age 24 and formed the guild.

wife left when he was 25

Chilchuck started to work with Laios at 26.

he's now almost 29.

they were childhood friends and married for a good 10 year. he was there when he was needed to be a good dad (he's clearly proud of his daughters) and their fallout only started when he started adventuring.

let me say it again.

they. were. childhood. friends.

as much as we see the unfolding of young love in media, with all the teen dramas finding true and forever love in highschool and live happily with the white picket fence for 50+ years we see less of the loves that fizzle out, but were and probably will be friends.

love this. love this little detail cause there's so much in it. The confusion, the still remaining anger, the fustration. they probably would be able to talk it out. they've known each other for most of their life, but his logic and compromises for work (clear communication and a clear head) does not work here.

we don't know how exactly he feels and i love that, but we know he struggles to be open about 'mushy' feelings, grand gestures and all.

he knows his limits. His wife probably knows it too. That's why she's with the middle daughter. The assumed-ly closest to her rather than the oldest (locksmith) or the youngest (conartist?freelancer?life-artist???)

if we learned anything from Dungeon Mushi, it's that Kui Ryoko is a master of diverse characters visually and personality wise as well.

you can reverse engineer the wife if you want to from the girls but i love the joke and the actual comfort this whole Mrs. Columbo it gives.

cause Chilchuck has Columbo vibes. He's competent in his work, knows his limits, knows how to help others and when, knows when to quit and when to move on. and this tiny flaw of his, this domestic mystery we assume is his background (and ground of his disarming normality) is just enough to keep you thinking and re-think and re-think and just grow to love and appreciate the little details and love that was poured into this character of many in this wonderful story.

BUT WAIT

THERE'S MORE

yes he's a father

the dad jokes. oh my good the hidden dad jokes all through-out the series.

the 'i don't want a pet' ---- 'proceeds to be unseparable from said pet' meme with Izutsumi

the actual care and attention he can give when someone is distressed

the TALK with Senshi. that moment.

he's a proud father

but he's above all - practical

well that's all the mad rambling i had in me for now

if you read through this thank you

and do share your thoughts and finds - and ideas about the wife.

[alatismeni-theitsa]

In "KAOS" nothing is anything, and everything is wrong

Two disclaimers: I am no stranger to modern art, and I have no issue with queerness in shows, or in my own mythology (I'm Greek). I am also aware that KAOS is a comedy. It's in the gutter of British comedy, but still part of the genre. At least I laughed every time they said "Oh God!". I don't believe this is the same person who wrote the great and amusing "End of the F**king World"! The premise of "The gods in our modern world" appeals to me a lot, so that wasn't my problem either. My general issue with KAOS is its horrible delivery, bad writing, and piss-poor Greek representation.

This is gonna be long and full of stupid gifs, so sit comfortably, grab a coffee or some popcorn and... pame!

The "ILoveGreekMythology" Kid

Art without context is just a pretty thing to look at. Most of the time, this context can be found within the art piece itself, as the artist has taken care to weave it in. KAOS refuses to connect itself to any context besides the names and a few vague powers. It aims to exist outside of those "boring old stories of the Greek myth" and be entirely "fresh and modern". Something impossible when the entire show and the meanings are based on ancient recorded material. In other words, KAOS is so meta that it ends up being nothing. KAOS cannot stand on its own because you need more than the viewers being familiar with the Greek myth basics to pull such a show off.

KAOS tells us "See? I know all the names of the gods, and what they did, and I know all the locations, so I am qualified to tackle this". More or less like any Western kid who takes all their knowledge from PJO and Marvel and proceeds to unironically hate ancient deities and make a girlboss out of Medusa.

Here's a Greek word for you guys, ημιμάθεια, meaning "half-knowledge". Α Greek saying very well declares "Half-knowledge is worse than no knowledge". The confidence of thinking you know enough often leads you to grave mistakes whereas the humility of not knowing prevents you from touching shit that you shouldn't. When you have no idea what the original myth is trying to say and spit on its meaning, knowing a few names and locations is just smoke and mirrors. I don't believe the audience fell for that.

And don't get me started on the "subversions". A good subversion is intriguing and thought-provoking. In KAOS, every twist was hollow - Greek myth related or otherwise.

"What if Euridice doesn't love Orpheus?" I don't know, babe. What if??? What was the point of that? What did you show us? That women's stories are dominated by men and men don't listen to women, perhaps? And you chose to twist... the love story of Orpheus and Euridice to show this?? One of the best and most tragic love stories Greek mythology has to offer?? You just mocked the myth, you didn't make anything profound out of it.

The Greek Stuff (Nothing salvageable)

I was surprised to see they had a Consulting Producer (Georgia Christou) and an Assistant Script Editor (Isabella Yianni) who happen to be Greek. And I stress that because those people probably weren't hired or utilized for being Greek. We are not sure they were involved in cultural decisions because we have no evidence and because shows with no Greek elements can have more Greeks than that on their staff.

Okay, perhaps they took 5 seconds to ask Isabella about a greeting - which they proceeded to say in a wrong intonation 🙄🤌It's where Poseidon says "ya sás" in the Fates, by the way. How he said it sounds more like "for you (pl.)" than "health to you (pl.)".

Surprise! The only Greek actor present (Peter Polycarpou) has less than 5 minutes of screen time and plays the caricature of an immigrant with a thick (and inaccurate Greek) accent. He has a canteen, selling falafel which is not Greek, and Dionysus buys from him an unidentified tortilla wrap (which... is also not Greek, if you haven't caught up).

For the show they brought in actors of Maori, Nigerian and Sierra Leonean, Pakistani, Black American, Latvian-Jewish, Iranian, Egyptian, Indo-Fijian and Malay descent and you tell me it was impossible for them to seek and find an English-speaking, skilled actor of Greek descent in a show regarding Greek heritage. Sometimes I wonder, do y'all hate us so much?

They considered Greeks only to give us a simple (and wrong) greeting and a stereotype. Crumbs, we are supposed to be happy with. By the way, there are over 70.000 Greek immigrants just in the UK, usually in the urban centers, many of them students or fairly young employees in the corporate workforce. Not the largest minority but not hard to spot either.

Another plague of Anglophone shows: Almost everyone's Greek name is shortened. Yes, we know their full names but we are told that we will use the short ones. Greeks and their "long and difficult" names am I right fellas? Because saying "Ariadne" apparently requires 5 years of Greek language training, and no English word ever has more than two syllables.

Coincidentally, short names are cool in Anglophone imaginary universes and the "long" names are not. it's so strange Anglophones never make universes where it's cool for Greek names to be spoken in full hmmm... They don't even want to practice saying a whole Greek name for just 2 minutes in preparation for a show full of Greek names. And don't give me that "Greek is hard" shit when we only talk about a few syllables. If Greek kids can learn English since first grade and people here can sing English songs and spell English names, you have no excuse.

They also said the name "Fotis" means light, which is close enough but... ugh.. It's like saying Sebastian means "respect". I am not sure if they asked anyone or what their research was here. If I had the writers in front of me, I'd be like:

(This character from an all-time favorite Greek show is called Fotis)

They also made the flag of "Krete" an alteration of the Greek flag and the local Cretan flag. Which is the stupidest move, because they had to remove the religious symbol of the cross to make the flag fit the universe. These are flags created based on 1) Christianity 2) the Greek Revolution of 1821.

National Greek flag to the left, local Cretan flag to the right:

Flag of the KAOS' "Krete":

The only time they seriously took into account anything Greek, was the time when they decided to remove the religious symbol of our ethnoreligion AND (from what I could observe) keep the nine stripes?? The nine stripes of our national flag represent the syllables in "Freedom or Death". The colors are from the white foustanela of the mainland attire and the dark blue vraka of the island attire, the clothing of the Revolution fighters. (That's more of a meta explanation but the characteristics of the flag were decided during and nearly after the Revolution.)

I think I don't have to explain it more but it's not a homage to put the nine stripes in an ancient era where they have no meaning, and to replace a cross??? Let's... not replace religious symbols on national flags, okay? Thank you.

Another cultural element they changed was making everyone have a dedicated coin to pay Charon. Orpheus has Euridice's coin, "her coin", and he's meant to put it on her before she got buried. In Greek culture, any coin would do. Sorry that our culture restricts your script, dear writers. I guess you had to bend this too, in order to create a cohesive plot with a semblance of a twist.

Finally, the many "Kerberus" dogs were cute and I can understand the creative decision behind that. However, in a show full of inaccuracies, this made me roll my eyes a little. I think the showrunners know that Kerveros is not a breed of dog, and there can only be one of him because he doesn't have any other "Kerveros" to breed with. On the other hand, as demonstrated from art/writing on the internet, quite a lot of Westerners are not exactly aware of how our monsters work, so forgive my uncertainty 😅

Nothing is Anything

Every element KAOS played with ended up meaningless. In the words of a Lifo article:

“Zeus is a paranoid authoritarian dictator in mid-life crisis who fears losing his power and murders his aides to vent. Hera is a promiscuous goddess who repeatedly betrays Zeus and has mutilated mute priestesses for protection. Dionysos is a spoiled and immature zoomer who, apart from pranks, indulges in orgies with all genders. Poseidon a sadistic god of the sea, who tortures the crew on his ship for fun. Prometheus is gay and killed his lover so he could overthrow Zeus. Orpheus is a famous pop singer and Eurydice does not love him. Theseus is black and gay. The Erinyes are tough-as-nails mechs that look like they stepped out of ‘Sons of Anarchy’. The Fates resemble a three-member jury in a talent show. The Trojans are a terrorist group that acts against the gods. Crete is more reminiscent of California than the Mediterranean.”

The "River Styx" is a sea, the "River Lethe" is a lake, the gods are nothing more than spoiled humans, the Moirai are drag queens, the Cave is a club where you have to take a quiz to enter the underworld, and generally everything is modern, flat, mundane and anticlimactic. The producers aimed to achieve a work so meta that a "river" is now a concept, a metaphor, whatever you have in your heart. And those who want to see a river when we speak of a river are probably uncultured swines and don't understand postmodernism. Never mind that rivers are rivers in Greek mythology for a reason. That's not culturally interesting enough to explore compared to the new, cool approach of not assigning meaning to anything. That totally shows love for the original rich and meaningful material...

And the reason behind all this subversion? Probably the shock factor. They brought the characters to a point where they said "We have to save the world from Zeus" - Zeus! The father of gods, heroes and humans! - just because they could. It gives off a certain type of smugness that I personally don't like. I mean, I would like the smugness and cheekiness of KAOS if it wasn't a vapid and practically meaningless show. As nothing symbolizes anything anymore, we are just led from hollow plot point to hollow plot point.

If you cut it out of any cultural influence and see it as a story then it's... okay, I guess. But when you consider that it's meant to derive from certain material and it fails spectacularly, it's not a good story. It forgets its bases and doesn't play with the ancient elements at all. Disney's Hercules did it better, FFS!

Bad Writing (pt.1)

KAOS is not without recognizable themes but their demonstration is so juvenile and heavy-handed that it fails to influence a viewer of average intelligence. For instance, "Riddy" says to her religious mother "You dedicated your whole life to Hera, what about me?" Okay, KAOS, we get it. At the same time, this theme nulls itself because it turns out that Ridy's mother was right to do what she did, as she had a greater goal in mind. (And this, kiddos, is called Bad Writing, because your themes and scenes contradict each other)

The biggest theme I spotted was a criticism of religion and religious people who say "Do as I say, not as I do" and create exceptions for themselves. Only, it's not a criticism of anything real, in this case. It's a fact that some people in the clergy tend to preach peace and love and then they do harm, but we don't know, for example, that The Goddess of Marriage is a cheater and yet she pressures everyone into strict marriages. By focusing their wrath on divine beings who are not known for their hypocrisy, the creators missed the mark.

I can give KAOS props for how it handled Trojans to reflect real issues regarding how immigrants and war refugees are mistreated and blamed. I'd argue it was the only (nearly) well-done theme in the whole show because it had the least on-the-nose delivery and some genuine/serious scenes. But that's it.

More Bad Writing!

Jeff Goldblum's Zeus is shit. He'd crap his pants in an argument with a stern Greek dad/uncle his age. Is this character supposed to be intimidating? (Laughs in Mediterranean) That's not to say that Goldblum is not a good actor, but this role wasn't for him. The same can be said for the other actors, too. They are competent but they only give off the air of "The Greek gods if they lived in London, from the minds of people who think beards and body hair are an affliction". In addition to being misplaced, the actors cannot show their talent when following a script that resembles a children's book.

Why does THE GOD Dionysus have the maturity of a 15-year-old? I repeat, The God Dionysus. He's a freaking deity, and a very old one at that. He is not a teenager neither in appearance nor in experience. In our culture, he is mystical, mighty, wise. Why did they downgrade him so? Just for the plot? This is not Dionysus just because you named him so.

The dialogue rarely takes itself seriously to the point it has you wondering at times "Do people talk and behave like that?". In a comedy where everything is meant to be already extreme and parodied. Even in comedies, something must occasionally be serious so there is a healthy fluctuation in tone and the funny moments can hit you. In KAOS very few scenes treated their impactful dialogue as it should be treated.

The queerness and diversity (good elements, in general) were worse off for being in KAOS. Like, I want these elements to be there. I'm just sad about the whole situation. It's not enough that the show is shit, now you also give an additional reason for conservatives to shit on diverse and queer characters because they are part of a stupid narrative.

I'm the type of person who doesn't mind the queerness of Astyanax and Theseus being lovers in the context of this specific show but they're still the oddest pairing to me because they're from the most irrelevant myths and eras. Also, Astyanax in my mind is a baby who died tragically, for little reason if we are honest, so to bring him back and make him a love interest is... ekh.

In addition, isn't Astyanax supposed to be crippled after a fall from the city walls when he was a baby? Sorry to change subjects but the show is so convoluted and with so many issues that it's extremely difficult to stay on track with what's wrong.

To the person who thought this show was a good idea:

Whatever. Bye. I'm fucking done.

[thatbookgirl1118]

I cannot for the life of me find the original post (tumblr is a hellsite) but this was sent in an atla gc:

@the-badger-mole

and tbh i always kinda felt like kataang was weird exactly because of that one-sidedness??? like there's one episode of katara maybe sort-of seeing aang as a love interest (when the fortune teller tells her she'll marry a powerful bender), but then the rest of the show is her being passive in the relationship or actively pushing aang away (like their second kiss). and then at the end she just randomly decided "okay i like you i guess."

whereas aang got a bunch of pining moments and you actually believed he was in love with katara.

and most of their relationship was about how she helped aang - he did contribute to her character development over the course of the series especially as a bender of course but it didn't feel as emotionally/spiritually deep as katara's literal one episode sidequest with zuko.

but then someone else wrote "I would argue the opposite? Kataang is where Katara choose the peaceful nomad which subverts the trope presented where zutara is where she chooses the strong protector/combatant. Aang as a character is a subversion of the typical hero while zutara is like,,, coloniser romance idk"

and honestly... i kinda get that. aang was problematic in a lot of ways, but he was definitely a subversive protagonist, and i can see the power of allowing the woman to choose the pacifist vegetarian over the extremely obviously hot jock badboy. this is an incredible oversimplification of their characters of course, but the point stands.

Basically, Kataang is the ship we all logically want - the sweet, friendship-based, seemingly subversive one. But Zutara is the one that actually makes sense in the story, with these characters, not their tropes. Aang is subversive, but he and Katara are also kind of terrible for each other - he isn't mature or selfless enough for Katara, who needs someone to force her to take care of herself because she's always the one taking care of everyone else (wonder what that's like). That's why she and Zuko are so perfect, because he not only takes care of her, he makes HER prioritize herself. Aang... does not. He's pretty selfish, which yes is partially due to his immaturity (I personally don't count Korra as canon because it treated ALL the og characters terribly so I'm speaking purely from his 12 yo self), but it's also just a basic incompatibility thing. And Katara is actually equally bad for Aang - she enables him waaay too much, and he needs someone who doesn't. Who forces him to stand up on his own two feet and take responsibility. She's too much of a mother, and her relationship with Aang is too mother/older sister-ish.

With Zuko, on the other hand? Katara started out HATING him, forcing him to prove himself to her instead of handing him everything she had like she tended to do with Aang and Sokka. He had to earn her care, and as a result he appreciates it way more and demands way less of it. He's a far less selfish character generally for the same reasons, and is much more mature/has a better understanding of life and gray areas. Southern Raiders is a great example of this - he's down for whatever Katara decides because he understands that there's no one right answer, unlike Aang who simply preaches forgiveness. I'm not necessarily attacking Aang about that either - I do believe that grudges eat away at a person, and taking a life does haunt you, so forgiveness isn't necessarily bad advice. But it's not what Katara needed. Aang is great as a friend, but I don't think he's what Katara needs from a romantic partner. Zuko just... is.

[struggling-jpg]

Thoughts About the Potential Underlying Hidden Tragedy of Yanqing and Jing Yuan

that isn't just the "Yanqing will have to kill Jing Yuan eventually" red flags.

A relatively longer-ish post so thank you for bearing with me if you choose to do so!

I'd already been thinking about this whole mess of thoughts for a long while now, and so have other people, but the urge to write this came from a comment I saw on a post that mentioned how Yanqing had lost to "Jing Yuan's ghosts" and overall how it contributes to the dynamic of them being mentor/mentee + father/son. While the narrative seems to be leading to "Yanqing having to strike down a Mara-stricken Jing Yuan," there's just enough weird points that stick out to the point some alternative outcomes for Yanqing and Jing Yuan's fates to play out.

And while I anticipate HSR to follow that most expected point, I feel like there's enough there that could lead to a subversion or something more likely than that, an additional twist to the knife alongside the expected point.

Jing Yuan's Flaws as a Mentor and Father-Figure:

While most of us love the family fluff, I'm pretty sure we can all acknowledge the issues in Jing Yuan's approach and decisions in regards to Yanqing. Yeah, this is a fictional space game story where it's likely they aren't going to delve into the consequences of having someone as young as Yanqing be a soldier, there seems to be something there regardless. Like the brushes with death that he has and how we see him have to worry about the Xianzhou's security as a teen due to having a higher position in a military force. This is all set up for more of a coming-of-age type narrative for him, which HSR has done amazingly so far, but there are a lot of chances for this to explore something darker.

Among official media, the one time I could even remember the term "father" being used in relation to Jing Yuan is in Yanqing's official Character Introduction graphic:

Another notable thing that we see here is how we do have moments where Yanqing expresses thoughts and questions about his own origins and birth parents. The fact that even here, he wonders if the general is hiding something from him, sets off some alarm bells in my head. But he then brushes that off because he's always been with the General and Jing Yuan accepts him for who he is (which under the theory that Yanqing originates/is connected to the Abundace adds a whole heavy layer (this will be discussed in a later section)).

Yanqing does something similar in his texts:

As Huaiyan says to Jing Yuan:

"Yanqing can understand your concerns."

Alongside Yanqing generally being a considerate and polite boy, it can possibly be said that his eagerness to share Jing Yuan's burdens not only stems from his own gratitude towards him but possibly also Jing Yuan's distance.

As in, Jing Yuan doesn't really express his feelings so blatantly, and what we can clearly tell from when Yanqing first met "Jing Yuan's ghosts," neither does he speak much about his past too on a personal level. In Jingliu's quest, Yanqing says that Jing Yuan simply told him to forget everything he saw that day.

For Jing Yuan, the loss of the quintet is a grief that feels fresh in his heart, especially with echoes of them running around him. This is in the description for "Animated Short: A Flash":

(Will also talk about this in a different section)

While Yanqing learns about his General's past in a more direct manner (aka the people involved), it's sad how avoidant Jing Yuan is at times. While he's never been a upfront person, especially in the case of solving problems, I wonder if HSR would go as far as to show the negative side of that in terms of raising and teaching Yanqing.

History Repeats Itself (Sometimes It Don't Need A Reason):

+ the Jingliu parallels

Following up on that last image, Jing Yuan, especially in A Flash, has that whole "history repeating itself" thing going on for Jing Yuan. It points to Yanqing having to take down Jing Yuan but it also comes with a lot of its own possibilities and meanings.

It's blatant that Yanqing parallels Jingliu to an unsettling degree. Anyone who personally knows Jingliu and meets Yanqing sees her in him. Jingliu probably sees herself in him as well. Beyond powers and passion for the sword, her Myriad Celestia trailer shows that her principles before getting struck with Mara were the same as his. But it took her losing her dear friends in such a cruel and brutal manner (alongside how long she'd been alive) for all of that to fall out and form the version of her we see today.

And while it seems that Yanqing is deviating from Jingliu's due to the teachings he's learning, especially with Jing Yuan's effort, I feel like there's still a chance for things to go so wrong and mess with that. Yukong's line about him strikes me as concerning:

"A sword will vibrate and beg to be unsheathed if it is unused for too long... Once unsheathed, it will either paint the battlefield in blood, or break itself in the process..."

Even though I don't think HSR will go down a route of tragedy with Yanqing, like say, he gets Mara struck somehow or killed because that's not how Hoyo's writing has fully gone for playable characters (Misha and Gallagher aside in terms of death). Even in the most despairing parts for Hoyo's games, they're usually outlined and tinged with hope in one way or another. It's just that with what's been presented, there's got to be more here than meets the eye.

Yanqing's Origins - The Breaking Point:

From what we've been given, I think the number one thing that would have the potential of shaking Yanqing's entire sense of his life and the reality he lives in is learning where he comes from. Where he actually comes from has been a strange mystery since the beginning, how Jing Yuan getting him being recorded in the military annals of all places.

As shown from the screenshots of Yanqing's texts, he doesn't know and tries to brush it off because he's happy with Jing Yuan now. The choice to have this aspect here leaves a lot to ruminate on. What is Jing Yuan hiding? And if he really is witholding information, does he ever intend to tell Yanqing? If he doesn't and Yanqing finds out, how will it play out? And even if he does mean to tell him, depending on the severity, how will Yanqing take it?

It's why the theory that Yanqing is connected to the Abundance, possibly even coming from it directly, is as harrowing as it is.

With his arc in mind, will his development be enough to sustain him when he does find out the truth? If he finds out sooner than he should, will he be able to rise above it? And what of Jing Yuan? If confronted with a situation that's outside of his control again, what will he do and how will he react?

The potential in that scenario is so fascinating to me, because we can all anticipate the absolute gut punch that Yanqing killing his master would be. It fits Hoyo's writing style of something so sad but having a hopeful end for the future type beat. But the idea of that being twisted, that expectation being flipped on its head, could be so agonizing. It's not a narrative we see too often explored, at least in my experience, so maybe that's why I'm brainrotting over it so much lol.

[tayloralisonswift]

invisible string? subversive lie? i'd love to hear more

hi sorry i just saw this !

SO basically invisible string is based on a quote from ernest hemingway's the sun also rises. specifically, the final page of the novel:

for some context: in the sun also rises is about a man named jake whose world war 1 wounds mean he can't have sex. he's chasing after brett but he knows he can never have her because of his disability, and at one point early on she says she loves him but they both know it doesn't matter. this final page is brett throwing out this possibility of them together, but jake sees through it. it's a daydream: what if the war hadn't (in her eyes) ruined you? what if i saw you as a real man? and jake knows that the war has ruined him and he is not (in her eyes) a real man. it's futile, to imagine these things; it's fake, it's not real now and it never will be. so when brett says, we could have had such a damned good time together, jake replies, isn't it pretty to think so? as in, isn't it lovely to imagine this world that never happened and never will? isn't it magical to pretend everything were different?

so at first, i thought that invisible string, frankly, was misunderstanding this passage and taylor just liked the sound of it. and i guess that's still a reading. but what changed my mind was what we learned about sweet nothing:

by liking this tweet, taylor was confirming that her sweet love song was a daydream. it wasn't based on real events from her real relationship, it was an exercise in imagination: what if i came home with a poem and you said this? what if you wanted nothing from me in a good way? etc etc.

so that had me rethinking invisible string. what if the song similarly was exploring a pretty lie, a daydream that didn't line up with the faithless love described a few songs later?

she's saying, isn't it sweet to imagine that we were fated to be happily together? it's not real, but let's pretend for a moment it is. taylor loves to play with the idea of fate in her music (state of grace, mastermind, the prophecy come to mind immediately) and she debates within these and other songs whether fate is controlling her narrative or she is. here, she is letting fate take the reins and tells a story of two people fated to be together. isn't it pretty to think this was meant to be? it wasn't, and never will be, but isn't it lovely to think so?

invisible string is sweet as a love song, but i don't think it was meant as a genuine one. like the sun also rises, the relationship was not fated to be, and she would not end up with him, but alone. it was pretty to think something else could've happened, but it was doomed from the start - and i'm not saying that in hindsight, i'm saying she called it doomed even back in 2020 with this song.

sorry this is so long. thank you for the question <3

[tossawary]

Hanahaki is a delicious trope in fanfiction, and yet sometimes I'm like, "You can't ALL rather literally die rather than confess your feelings." (Yes, the mechanics of Hanahaki work differently on a story by story basis, but the original is just about confessing your love rather than keeping it inside, not about needing to be loved back.)

Like, it would be embarrassing as hell to confess your love if you genuinely didn't think you had a chance, but seriously (as much as I love going along with a well-written, angsty, whumpy story), some of these characters are practical enough that I think they'd just suck it up and say it. They're adults! They have shit to do! And some characters are assholish enough that I think they would just decide to confess and make their feelings someone else's problem, which is a funny scenario to think about, perhaps underused in fanfiction.

Character A: "Sorry, you were DYING because of a magical flower curse?! And now you're better because you confessed your love to me?! What the fuck am I supposed to do about any of this?!"

Character B, trying to remain chill while their face feels like it's on fire: "Sorry, I don't know. You figure it out, I guess."

Same thing with truth serums and other curses that manifest your feelings and whatever. It's fun to have the "Ohhh, nooo, I can never tell them" and the "Surprise! Your love was requited all along", I love those, but I'd also love to see more awkward subversions of tropes. More "Well, fuck, might as well say something" and more "Shit, now what?" of romantic interests getting bodied out of left field by the main character's feelings.

[unofficial-underfell]

Hey guys, I've been thinking about making this post for a long time and I think its finally time I do so. After realizing that some of my last work was done over a year ago, I don't think I can really ignore it anymore. While I haven't quite thrown in the towel on this quite yet, it's pretty evident to me and I'm sure to everyone who still follows this blog that my fervor for the project has drastically decreased. And has been kind of dead for a while. The comic has not been a priority to me, or posting online much at all actually. I did some soul searching and found that I'd started relying on outside approval for my art instead of doing art for the sake of wanting to tell a story and express myself throughout my work. I have limited energy and depression and sometimes it feels like i get such little progress done even though it takes all of my energy. While I'm trying to go to the gym more and build better habits my energy levels and mood still have a lot to be desired, and I'd rather use the limited energy I have to work on something I'm more passionate about.

I've been trying to grow my skills and absorb more stories and I've moved around a lot and started to listen to what I really felt, and I found that a lot of the art I want to focus on deals with heavier and more mature topics. I do love this story, and all of the characters and I feel like I could make a really clever subversion of what is expected from an Underfell comic. But I feel like in these uncertain times with the world and with all of the stuff going on right now, I'd like to use my energy to work on stories that hit closer to the things that I feel are important. So that's why I've not been posting much.

I'm working on a book, and I've actually got quite a lot of progress done on it, but because of all the horror stories online about people stealing author's original works, I'm kind of holding off on publishing any chapters before I can copyright the first draft of the novel. So my online activity will still be pretty scarce for a bit, though I'll still post occasionally on my @cosmicpixel01 account. I'll try better to not be so radio silent though lol. Even if that means I'll post something boring about my dog or books I'm reading just so everyone knows I'm still alive.

I don't want to call it quits on the story. But I also feel like you guys have been kept waiting to see what happens for a really long time, and that makes me feel so guilty. I will try to finish up the pages I have in the works, and I'm probably going to switch to a different format that is some drawings, some writing to finish the story. I'm sorry that I wasn't able to finish it the way I intended for you guys, even with all of the support and kind words and even the fanart that I've kept in a folder on my desktop. I am letting a lot of you down, but I feel like the radio silence is probably more irresponsible than just going out and saying something. And I'm sorry I've kept you all waiting for a not-so-happy update on the blog.

I hope that some of you will continue to follow me for some of my other exploits and see whatever other things I have going on, but I understand that you all followed me for Undertale so I don't want you to feel any sort of guilt if you decide not to. I'm just happy you all supported me for so long.

I'll try to work on this blog again soon, and if anyone has any questions, my asks are open, though I'll probably keep the asks private. Until then I hope everyone stays safe out there. And from the bottom of my heart, thank you.

-Avery

[whirlwindwonderland]

What do you like about Princess Tutu (as someone who only knows the name)? What made you enjoy it?

Oh boy.

Okay so Princess Tutu is one of my favourite ever stories. And if I were to list everything I liked about it we'd be here long enough for you to actually go watch the show yourself.

Which you should do.

Because it's awesome.

But to sort of sum up my feelings... I like Princess Tutu because of how it chooses to tell its story. Every story is told a specific way for a specific reason, and Princess Tutu chooses the medium of a Magical Girl Anime about Ballet to tell a story about Love, Hope, and Willpower triumphing over Tragedy and Despair.

That's fucking genius.

It plays its premise completely straight. There's no subversive takes on the magical girl genre here. No turning to wink and laugh at the camera to try and save face. It's completely earnest, plays its tropes completely straight, and makes it all work together, and it all serves the main themes of the story.

You can really get a good summary of this in the main character Ahiru.

Because Ahiru, in the general space of the magical girl anime genre, is not an outlier from what I can tell. She's kind and she's sweet and she's a clumsy, and her power comes from her empathy and her love of others. There's a lot of characters like her.

But Ahiru is different because all of these things- Her empathy, her kindness, her silliness and innocence and clumsiness and big open heart, they all serve the themes of the story. Because when the main villain, the big bad, the thing you have to stand against, is a seemingly inescapable force of fate, pulling you down the path of tragedy, it takes a special kind of truly indomitable soul to fight back.

See, this is a magical girl anime built around the stories of ballet, and a neat thing that many don't know about ballet is that a solid 75% of what's considered the 'Classics' of the medium are tragedies. Swan Lake, Giselle, Romeo and Juliet, and La Sylphide are all referenced in the show proper, with Swan Lake and Romeo and Juliet being referenced particularly often. The overarching Villain of the story could be said to be this conceptual tragedy that Ballet seems so enamoured with.

But by applying the fixings of the magical girl genre to this tragedy, approaching this idea of roles in life being fixed like the roles on a stage, of working towards helping someone you love knowing that the result will ultimately be your demise, with the attitude of "I'm going to fix this problem with the power of love and friendship". you get a really interesting story.

Over and over again, Ahiru sees dangerous situations, and reaches out with a kind hand to help those involved. Over and over again, she succeeds. Over and over again, Ahiru almost falls in the face of the despair of her situation. And over and over again, her own kindness comes back to help her, as the people she's befriended come to her side, to support her, to catch her when she falls, and to give her the openings she needs to solve the problems.

Despite being told that her life is meant to be a footnote on the stories of others, that her role is one no one else would take because no one else would want it, that she can never share the love she feels with others, because to do so would literally kill her. Ahiru continuously chooses love. She never becomes bitter to her situation, and continuously chooses to do what she thinks is right, to be kind, to care, and to try to help, and it is this unfailing kindness that, in the end, forces the genre of the story around her to change.

By being unflinchingly and unfailingly herself in the face of adversity and a story that wants her to suffer, she inspires others to want to help her succeed. And in doing that, she forces a grand, cyclical tragedy, to finally resolve with a happy ending.

It's such a clever and beautiful marriage of two different storytelling mediums, and that's just the basics of what you can talk about with the protagonist. The rest of the cast is equally as interesting, and I love them all so very much.

I love stories about storytelling, stories about the triumph of hope, and stories about love and friendship, and Princess Tutu is all of the above. I honestly cannot recommend it enough, it's one of my favourite things ever.

Also it's hilarious. Where else am I going to get a cat ballet teacher that repeatedly threatens his students with marriage if they don't improve at ballet? Or a girl in a donkey costume delivering love notes all around the school? Or... Femio? Just Femio in general???

Great show. Go watch it.